A tentative dating of 'Chanson de Roland'
John Bjarne Grover
Having shown a tentative dating of the 'ostarrichi' and 'Heimskringla' documents, would the french 'Chanson de Roland' be a piece of potential historic swindle for which the year of writing can be found with my blue metre 'POLAKK English Bloggi' = 'PEB'? the 'Chanson' is traditionally taken to be from the late 11th century (a year 1088 would suggest offset in the PEB = #388). To search for another offset I tried the simplest method - to divide the work into 366 parts and then read the first and last of these and try to find where these would meet in the 'wrapover'. The first part could be seen to have 'castle' as its main theme, for which reason I simply searched my PEB for this word and found it in #52, #105, #225 and #260 ('sandcastle'). PEB #52 = 1867-69 which is too late since the Chanson has been very public since the 1830's. #225 means appr. 1395 which probably is too old for such intrigues. But #105 looks promising - it would mean 1723-24 as the year of writing. This #105 is the first poem in the section called 'Patterd immediately' while #104, which then means the end part of the Chanson, is the shortest 'chapter' in the PEB - it has only this single poem and is called 'Stein of language'.
It seems an alignment that starts at #105 comes out reasonably well - although some of the matches seem to be better if it be displaced another 5 lines down. The oldest manuscript of the Chanson is in Oxford and contains 4002 lines - that means 10,93 lines per poem. A test for the alignment could be sought in #49 - the line 'Library Zhikorsky Mourner' seem often to have a clear reflex in the form of a collection of things associated with mourning lifted up in the air. The below alignment with #49 shows the line 3402 'Plus de cent milie espees i unt traites' (in english translation 'Five score thousand swords from their scabbards leap' - or the swords are pulled up in the air) - but for finding that one has to displace the alignment at least one or two lines down - I have added these extra lines here for showing it - but, again, the lines I have aligned #49 with below has a good match in the beginning and in the end. The same obtains perhaps for some of the other poems - which perhaps could mean that it took some time to compose the work, whenever it was written. I have, though, included for most poems only the lines suggested by a strict match according to assumed year of writing at 1722-23. This precision could also - although the normal match is of the semantic type 'barge' / 'admiral' etc - show some convincing force in the 'phonological' match between my 242-243 and the french original - such as for Bhagavad Gita:
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A boy |
walks up Vait |
the stair over le ferir en l'escut |
a bridge. amiracle: |
His trip is crowded with Pierres i ad, ametistes |
the spheres etc e topazes, etc |
up to "the evensong" / "l'arcevesque", "humans" / "est ben" etc. PEB #241 ends with the lines "Another girl / comes close to me / in the world / of shops and shelves. / Closer is she / than ourselves" - cp. the preceding lines in the chanson. Could be better alignments can be found, of course - I have not spent much work on this, also since I know not the historic details on the manuscripts etc. The following data suggest only that it should be possible to find a dating of this chanson - and could be even the year 1722-23 is not impossible. I present here the alignment for the 11 poems discussed in the article "The 'ostarrichi' document" - these 11 poems are reproduced also in this file and in this. The source for the french text is found under http://www.fh-augsburg.de/~harsch/gallica/Chronologie/11siecle/Roland/rol_ch00.html and the source for the english translation by C. K. (Charles Kenneth) Moncrieff is found under https://gutenberg.org/cache/epub/391/pg391.html. For the poems PEB #242-243 (chanson lines 1498,0-1519,9) this english translation did not function but I then used the translation of Dorothy L.Sayers on the page 'The Song of Roland--a new translation'.
The mystery annotation 'AOI' - which perhaps still counts as unsolved - occurs apparently 181 times or thereabout, while there are 228 latin words in the 'ostarrichi' document conjecturally from around 1778. If the difference of 47 words are removed in the end of 'ostarrichi', the remaining part ends (including the 'sanct') appr in 'Sanger av Bjarne Eidsvig'. Would this be the AOtrIche - and hence e.g. the 'AIDSHIV' epidemic (by 'AOI treasin')? Clearly with such a 'french' pandemic coupled with the 'austrian' world war, if the Chanson with these AOIs were 'fabricated', the organizers could have hoped for the feeling of some mystic depths in these indexes. 'Eidsvig' = 'oaths-treason' ('eid-svig') or 'bay between headlands' ('eids-vig').
PEB #27 = 3149,1-3160,0
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Walking down the stairs in the Hotel Berlin it's ninety degrees off where there's the stairs you're walking in. Zhozhiene president stands down on his knees, under his own knees he is bent, under vaporetto he sees. Herald shouts: "Schnapsenbataille!" looking at the winner who is greek in his reply: "Nai!" And, eh, I have also ordered some things on the inter- net, ticking boxes sorted. |
D'or est la bucle e de cristal listet, (3150) La guige en est d'un bon palie roet; Tient sun espiet, si l'apelet Maltet: La hanste grosse cume uns tinels; De sul le fer fust uns mulez trusset. En sun destrer Baligant est muntet; (3155) L'estreu li tint Marcules d'Ultremer. La forcheüre ad asez grant li ber, Graisles les flancs e larges les costez; Gros ad le piz, belement est mollet, Lees les espalles e le vis ad mult cler, (3160) |
(Round its gold boss a band of crystal went, The strap of it was a good silken web;) He grasps his spear, the which he calls Maltet;— So great its shaft as is a stout cudgel, Beneath its steel alone, a mule had bent; On his charger is Baligant mounted, Marcules, from over seas, his stirrup held. That warrior, with a great stride he stepped, Small were his thighs, his ribs of wide extent, Great was his breast, and finely fashioned, With shoulders broad and very clear aspect; |
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A bulky barge, a ferry glides in mystery out the harbour basin, very red, black, white and stout. This the movement dodgic that sympathize the fall. I says: Here's the logic. He's the marine call. Hidden on the corner there's a stainless ring: Library Zhikorsky Mourner. I write on poetic Mecca. I will write something for the bridges of Giudecca. |
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . (3390) Li amiralz recleime sa maisnee: «Ferez, baron, sur la gent chrestiene!» La bataille est mult dure e afichee; Unc einz ne puis ne fut si fort ajustee; Josqu'a la [nuit] nen ert fins otriee. aoi. (3395) CCXLV Li amiralz la sue gent apelet: «Ferez, paien: por el venud n'i estes! Jo vos durrai muillers gentes e beles, Si vos durai feus e honors e teres.» Paien respundent: «Nus le devuns ben fere.» (3400) A colps pleners de lor espiez i perdent: Plus de cent milie espees i unt traites. Ais vos le caple e dulurus e pesmes; Bataille veit cil ki entr'els volt estre. aoi. |
That admiral rallies once more his tribe: "Barons, strike on, shatter the Christian line." Now very keen and lasting is the fight, As never was, before or since that time; The finish none shall reach, unless he die. CCXLV That admiral to all his race appeals: "Pagans, strike on; came you not therefore here? I promise you noble women and dear, I promise you honours and lands and fiefs." Answer pagans: "We must do well indeed." With mighty blows they shatter all their spears; Five score thousand swords from their scabbards leap, Slaughter then, grim and sorrowful, you'd seen. Battle he saw, that stood those hosts between. |
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The letter reads: "...so I'm ending this music from these ancient lyres. With love from one of thy standing longstanding true admirors". And as I reach my hand out for this bottle of indistinct script with label washed, there's on this shore another bottle next to it! These bottles form a girdlefield on nickle where we're stretching out to race over this hurdlefield. The fluid has been re-installed by measures far beyond our doubt of lockings. Or it's preinstalled. |
«Que me loez de cels qu'ai retenuz? Pur Guenelun erent a plait venuz, Pur Pinabel en ostage renduz.» (3950) Respundent Franc: «Ja mar en vivrat uns!» Li reis cumandet un soen veier, Basbrun: «Va, sis pent tuz a l'arbre de mal fust! Par ceste barbe dunt li peil sunt canuz, Se uns escapet, morz ies e cunfunduz.» (3955) Cil li respunt: «Qu'en fereie jo e el?» Od .C. serjanz par force les cunduit. .XXX. en i ad d'icels ki sunt pendut. Ki hume traist, sei ocit e altroi. |
"With these I guard, advise what shall be done. Hither they came because of Guenelun; For Pinabel, as pledges gave them up." Answer the Franks: "Shall not of them live one." The King commands his provost then, Basbrun: "Go hang them all on th' tree of cursed wood! Nay, by this beard, whose hairs are white enough, If one escape, to death and shame thou'rt struck!" He answers him: "How could I act, save thus?" With an hundred serjeants by force they come; Thirty of them there are, that straight are hung. Who betrays man, himself and 's friends undoes. |
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It was a mythological role in the public sphere, a girl in a jacket of gold high-jacking to Commonlehre. It was soon after Halloween. The town was under the high dome minus eight hundred and eighteen die andrechs anbetrieben kom. I'm willow on the strand which I try to reach when I stand. Engel der Staub, cliff on the beach, bräche den Raub. |
XXI Guenes respunt: «Pur mei n'iras tu mie! aoi. Tu n'ies mes hom ne jo ne sui tis sire. Carles comandet que face sun servise: En Sarraguce en irai a Marsilie; Einz i f[e]rai un poi de [le]gerie, (300) Que jo n'esclair ceste meie grant ire.» Quant l'ot Rollant, si cumençat a rire. XXII Quant ço veit Guenes que ore s'en rit Rollant, Dunc ad tel doel pur poi d'ire ne fent, A ben petit que il ne pert le sens; (305) E dit al cunte: «Jo ne vus aim nient; Sur mei avez turnet fals jugement. |
XXI Answers him Guene: "Thou shalt not go for me. Thou'rt not my man, nor am I lord of thee. Charles commnds that I do his decree, To Sarraguce going to Marsilie; There I will work a little trickery, This mighty wrath of mine I'll thus let free." When Rollanz heard, began to laugh for glee. XXII When Guenes sees that Rollant laughs at it, Such grief he has, for rage he's like to split, A little more, and he has lost his wit: Says to that count: "I love you not a bit; A false judgement you bore me when you chid. |
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The art of poetic philology was hurled up in the air by standard mythology and landed there: What does your hand tell you? 't'is true this Adamenta and conglomerate blue and was taken into the catholic by Jams Arbercra and the novices of the bucolic. Hey ho, the verse still lives among us, and one naturally asks: When comes to us the divine song? |
Puisquel comant, aler vus en estoet.» XXIV ço dist li reis: «Guenes venez avant. aoi. Si recevez le bastun e lu guant. (320) Oit l'avez, sur vos le jugent Franc.» – «Sire,» dist Guenes, «ço ad tut fait Rollant! Ne l'amerai a trestut mun vivant, Ne Oliver, por ço qu'il est si cumpainz; Li duze per, por [ço] qu'il l'aiment tant, (325) Desfi les ci, sire, vostre veiant.» ço dist li reis: «Trop avez maltalant. Or irez vos certes, quant jol cumant.» |
When I command, time is to start amain." XXIV Then says the King: "Guenes, before me stand; And take from me the glove, also the wand. For you have heard, you're chosen by the Franks," "Sire," answers Guenes, "all this is from Rollanz; I'll not love him, so long as I'm a man, Nor Oliver, who goes at his right hand; The dozen peers, for they are of his band, All I defy, as in your sight I stand." Then says the King: "Over intolerant. Now certainly you go when I command." |
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The sun is bright. Three young men sit in dazzling light by table-fit. One at the end, two at the side. Three are these men that here abide. One of them has a tartan shirt. He shades his eyes. With tangled legs and stares that hurt at me - they're eggs. |
Dist Oliver: «Jo ai paiens veüz: Unc mais nuls hom en tere n'en vit plus. (1040) Cil devant sunt .C. milie ad escuz Helmes laciez e blancs osbercs vestuz Dreites cez hanstes, luisent cil espiet brun. Bataille avrez, unches mais tel ne fut. Seignurs Franceis, de Deu aiez vertut! (1045) El camp estez, que ne seium vencuz!» Dient Franceis: «Dehet ait ki s'en fuit! Ja pur murir ne vus en faldrat uns.» aoi. LXXXIII Dist Oliver: «Paien unt grant esforz, De noz Franceis m'i semblet aveir mult poi! (1050) |
Says Oliver: "Pagans from there I saw; Never on earth did any man see more. Gainst us their shields an hundred thousand bore, That laced helms and shining hauberks wore; And, bolt upright, their bright brown spearheads shone. Battle we'll have as never was before. Lords of the Franks, God keep you in valour! So hold your ground, we be not overborne!" Then say the Franks "Shame take him that goes off: If we must die, then perish one and all." LXXXIII Says Oliver: "Pagans in force abound, While of us Franks but very few I count; |
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A glass of Nescafé is on a shelf of shop next to the shelf of tea. The customers reach up their hands to grip around the body of this glass that holds the contents brown when in the shop they pass. The extension of the palm covers the label writ about the powder's realm. The glass is left there, though the colours about it are lifted down and low. |
Ambedui unt me[r]veillus vasselage. Puis que il sunt as chevals e as armes, (1095) Ja pur murir n'eschiverunt bataille. Bon sunt li cunte e lur paroles haltes. Felun paien par grant irur chevalchent. Dist Oliver: «Rollant, veez en alques! Cist nus sunt pres, mais trop nus est loinz Carles. (1100) Vostre olifan, suner vos nel deignastes; Fust i li reis, n'i oüssum damage. Guardez amunt devers les porz d'Espaigne: Veeir poez, dolente est la rereguarde; Ki ceste fait, jamais n'en ferat altre.» (1105) |
And both of them shew marvellous courage; Once they are horsed, once they have donned their arms, Rather they'd die than from the battle pass. Good are the counts, and lofty their language. Felon pagans come cantering in their wrath. Says Oliver: "Behold and see, Rollanz, These are right near, but Charles is very far. On the olifant deign now to sound a blast; Were the King here, we should not fear damage. Only look up towards the Pass of Aspre, In sorrow there you'll see the whole rereward. Who does this deed, does no more afterward." |
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She said: "I'm a psychologist". She had a bag of flower-power. She'd visited a telegraphist. "I was there for an hour". We were more desolate than any man. I saw the seaside with a single boat, the darkness in the air, the strand, a raft was coming in afloat. It turned into the blackest night in our secludedness. We were by bed and breakfast. The cone of light under the lamp shone on us two deluded guests and cunnecun the camp. |
Barbarins est, d'un estra[n]ge pais. Si apelad les altres Sarrazins: «Ceste bataille ben la puum tenir, Kar de Franceis i ad asez petit. Cels ki ci sunt devum aveir mult vil; (1240) Ja pur Charles n'i ert un sul guarit: Or est le jur qu'els estuvrat murir.» Ben l'entendit li arc[e]vesques Turpin. Suz ciel n'at hume que [tant] voeillet hair; Sun cheval brochet des esperuns d'or fin, (1245) Par grant vertut si l 'est alet ferir. L'escut li freinst, l'osberc li descumfist, |
Barbarian, and of a strange country, He's called aloud to the other Sarrazins: "Well may we join battle upon this field, For of the Franks but very few are here; And those are here, we should account them cheap, From Charles not one has any warranty. This is the day when they their death shall meet." Has heard him well that Archbishop Turpin, No man he'ld hate so much the sky beneath; Spurs of fine gold he pricks into his steed, To strike that king by virtue great goes he, The hauberk all unfastens, breaks the shield, |
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A boy walks up the stairs over a bridge. His trip is crowded with the spheres and on his forehead 'GLIPP' is on his knitted cap. His father follows him like some extended flap or as a forehead brim. A choir sings: "Mama and pa[pa]". It is the voices of the high angels all among humans and the sea that sing the evensong. What's written and what's heard is hung up in a church. It tells in paper words the program you can search: The time when things are on, a schedule for the grace under this glass. Around there is a blackwood case. I overtake this board by walking past, my shirt - as white as I can afford. A woman dressed brown-dark towards me: "Mein Auto wird hier lange stehn". |
Vait le ferir en l'escut amiracle: Pierres i ad, ametistes e topazes, (1500) Esterminals e carbuncles ki ardent; En Val Metas li dunat uns diables, Si li tramist li amiralz Galafes. Turpins i fiert, ki nient ne l'esparignet, Enpres sun colp ne quid que un dener vaillet, (1505) Le cors li trenchet tres l'un costet qu'a l'altre, Que mort l'abat en une voide place. Dient Franceis: «Ci ad grant vasselage! En l'arcevesque est ben la croce salve.» CXV Franceis veient que paiens i ad tant, (1510) De tutes parz en sunt cuvert li camp; Suvent regretent Oliver e Rollant Les .XII. pers, qu'il lor seient guarant. E l'arcevesque lur dist de sun semblant: «Seignors barons, n'en alez mespensant! (1515?) Pur Deu vos pri que ne seiez fuiant, Que nuls prozdom malvaisement n'en chant. Asez est mielz que moerium cumbatant. Pramis nus est, fin prendrum a itant, Ultre cest jurn ne serum plus vivant; (1520) |
He rides to strike him on his target of proof Wondrous with topaz and amethyst to boot, With carbuncle ablaze, and beryl blue (Emir Galafe gave it him for a boon Whom in Val Metas a devil gave it to.) Turpin lays on, nor spares; I tell you true, After he hit it it was not worth a sou! [1505-32] From flank to flank he spits his body through, And flings him dead wherever he finds room. The French all cry: “A valiant blow and shrewd! Right strong to save is our Archbishop’s crook!” 115 Now can the French count up the Paynim might; They see it filling the plains from side to side. They urge on Roland and Oliver likewise And the Twelve Peers to flee for all their lives; To whom straightway the Prelate speaks his mind: “Barons, my lords, these shameful thoughts put by; By God I charge you, hold fast and do not fly, Lest brave men sing ill songs in your despite. Better it were to perish in the fight. Soon, very soon we all are marked to die, None of us here will see to-morrow’s light; |
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I see her far away: A woman in a brown- red coat, if so I may describe her overgown. It is this distant view I recognize as mine: Cylindrical and new, and spherical and fine. Well that is what it is. What is it more than mine, if I may emphasize? It is what's known to us untill the african tells it in a blush. |
Carles repairet, li reis poesteifs!» CLIX Li quens Rollant unkes n'amat cuard Ne orguillos, ne malvais (...) hume de male part, (2135) Ne chevaler, se il ne fust bon vassal. Li arcevesques Turpin en apelat: «Sire, a pied estes e jo sui a ceval; Pur vostre amur ici prendrai estal; Ensemble avruns e le ben e le mal; (2140) Ne vos lerrai pur nul hume de car. Encui rendruns a paiens cest asalt. Les colps des mielz, cels sunt de Durendal.» Dist l'arcevesque: «Fel seit ki ben n'i ferrat. |
Charle is at hand, that King in Majesty." CLIX The count Rollanz has never loved cowards, Nor arrogant, nor men of evil heart, Nor chevalier that was not good vassal. That Archbishop, Turpins, he calls apart: "Sir, you're afoot, and I my charger have; For love of you, here will I take my stand, Together we'll endure things good and bad; I'll leave you not, for no incarnate man: We'll give again these pagans their attack; The better blows are those from Durendal." Says the Archbishop: "Shame on him that holds back! |
The relevance of the theory of 1088 as year of writing
This alignment with PEB offset +105 = year of writing 1723 is, as seen, promising and seemed to support the theory of swindle - but then I checked the assumed year of writing 1088 and was struck by a feeling of sinking into a perfect match in the alignment (at least for the poems discussed above): No doubt, this could be seen as better than the theoretic swindle year:
#49 contains
Mahumet levent en la plus halte tur = Mahum they raise upon their highest tow'r
#242 starts
Devant sei les ad fait tuz uvrir = A boy walks up the stairs over a bridge.
E tuz les quers en paile recuillir = His trip is crowded with the spheres
Un blanc sarcou de marbre sunt enz mis = and on his forehead 'GLIPP' is on his knitted cap.
But, just in case, if 1723 really were the year - how could it create the feeling of meeting the year 1088 so well?
There are some structural reasons which could explain why a swindler could have felt uplifted to a 'higher truth'. I discuss these here:
The poem 'Metatron' lists three criteria for the situation at Hütteldorfer Strasse:
There was this one here who meant that there was a unity in it,
the complicator,
the surface's quartet.
and the discussion elsewhere has shown that there are reasons to assume that the 'unity' of this puzzling nominalism is the Catalan constant G = 0,91596... Multiplying 366 with this takes it to #336 - or, say, #337 - which corresponds to the traditional assumption that the Chanson de Roland was written just before 1090: If the year of writing were 1089 that means PEB #337. Postulate offset +105 = year of writing 1723 (discussed above), which would have been the year when the Catalan effect of this phenomenon (relative to my PEB which it is measured with here) would have been felt in 1723 - subtracting this offset 105 from the 337-338 takes it to #242-243 which is the poem of 'surface similarity' between PEB and the Chanson just like for Bhagavad Gita. This lands it on the same offset poem as the Catalan constant would - which is what lends particular force to this 'surface' similarity of phonology. It is here assumed that this is the 'surface's quartet' of the poem 'Metatron'. What is then the 'complicator'? It could be the characteristic described in #49 - the 'Library Zhikorsky Mourner' where things are hauled up in the air. Assuming these three defining criteria, it is possible to postulate why the year 1088-1089 of writing looks so much more true and right than the year 1723 if this latter were the real year of writing.
But this was computed on basis of the assumption of +105 while in actual fact one has to subtract 105 from 337 to reach 242. This corresponds to the observation in the discussion of the 'Ostarrichi' document: "Conversely, if you put the offset wrong way in the alignment, as for a quasi 'phonological logic' on the rainbow, the PEB #1 starts on letter #367 and ends with poem #366 on #366 - indeed that could have been felt as 'right' - as if the alignment is perfect for 'morphemic' and 'submorphemic' units!" This could thereby be the secret to the AOI's.
337-338 would be the 'surface' alignments corresponding to #242-243. That is 29 from the end 366 to which the postulated 105 are added for the PEB #134 - given above:
The art of poetic philology
was hurled up in the air
by standard mythology
and landed there:
What does your hand
tell you? 't'is true
this Adamenta and
conglomerate blue
= #49 the complicator
= #242-243 the surface alignment with the Bhagavad Gita
= the HAND
= ad-a-menta
Now consider what #49 turns into by +105 displacement - that will be #311 which starts as follows:
Man stands in your ways
holding up a pamphlet
with text on the front that says
"Rotemiti Genocili", something like that.
Is this the current ad
of intellectualism today
or is it the electric pad
you see there in your way?
= #49
= #242-243
= red hands
= ad-a-menta
= conglomerate blue
= a lektrip ad
Now consider Chanson lines 1500-1501 - which are the 'surface' alignments to the 'miracle' of just #242:
Pierres i ad, ametistes e topazes, (1500)
Esterminals e carbuncles ki ardent;
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Pierres i ad ametistes topazes Esterminals carbuncles ki |
= ad-a-menta if pierre = lapis philosophorum = conglomerate blue = Jams Ar[b]er[cra] = the novices (somehow) = [cra]bucolic |
This means that if the writer in 1723 went into the trance of believing that he was writing in 1088, he would enter into a state of ecstasy transcending the confinements of the collective historic consciousness - while writing this 'french Iliad' - the standard mythology in those days. This means that his 'art of poetic philology' would have been 'hurled up in the air / by standard mythology / and landed there' about 1088. What did his hand tell him? That it was true, this Ad-a-menta and conglomerate blue, and that he was 'taken into the catholic / by Jams Arbercra / and the novices of the bucolic'. If this were written in 1723, the story could simply be that the britons regretted bitterly the schism created by Henry VIII and tried to find a way to smuggle themselves back into the mother church of Rome. The swindle of the Chanson would have been the way they could have lifted themselves beyond the limitations posed by the historic consciousness of those days.
This tells that the story with the british 'brexit' of Henry was tragic and could have caused the formation of swindle in historic documents which led to much twisted culture in Europe for adjusting to the fantasy re-inclusion of the protestant (or anglican) countries into the catholic again. This explains why it looks more right with the year 1088 as hypothetic year of writing of the Chanson if the factual year was 1723. That would be a masterpiece of swindle which could have lured and lulled even the britons themselves into the feeling of still being part of the salvation offered by the catholic church of Rome - in spite of the tragic pride that could have made Henry split them off from the eternal unity.
Historic events in support of the +105 theory
It is likely that the determination of the offset +105 = year of writing appr 1723 for the Chanson de Roland could have been determined not so long after I completed my PEB and this aspect of it was discovered. For once I got in 2012 a communication - in reply to an inquiry of mine to a french office in Paris - which could have contained some possible signals that they had located something important to this poem. Secondly it seems that the terror in Vienna on 2 november 2020 were on placenames that could be seen as parallel to some lines of this poem #105:
Of how to make a telephone.
You need big paper, staples,
carton scroll, thread to wind
around the board and paper.
Next you dial in the air
for ship no.829:
Now for Castle Square.
The shooting apparently started (quoting from the article on the web) near the jewish synagogue in Seitenstettengasse (a Thora scroll = 'big paper'), Morzinplatz (staples?), Salzgries (carton scroll), Fleischmarkt (thread to wind), Bauernmarkt (board), and Graben (paper). The attacker was armed with a handgun (John?), a machete (b-jarne) and a rifle (g-röver) and was wearing a fake explosive belt ('A waist of time'?). The attack ended when the gunman was shot dead by police at 20:09 (cp. the year 2009 of PEB) near St. Rupert's Church. I had some years earlier met (probably) president Heinz Fischer outside the bookshop Frick in Graben - I was looking at some books and he came over and did the same, and it may have been a 'presidential choice/election' whether to say something or not. Writing on paper is otherwise often associated with scratching the nib into the paper. What should the telephone be? I dont know what happened to 'My epidemiological theory (april 2020)' - whether Trump had taken a telephone and possibly vetoed the publication of it. Did the shooting start at 19:38? That was the time point of the last silent telephone 1986-88 when I had predicted in advance that if there came such a phone on that day at that time point, it had to be Ragna Grøver who had called. To shoot around on the mentioned locations up to Graben and from there down again to St. Rupert's Church would probably take more than 9 minutes. The shooting could have served to mean that it was I who should have been shooting because Trump had not okayed a publication of my books (it had been 'a waist of time') and therefore the 'cheated author' started terrorizing the world again (as in 1998 and 2001). The evidence that this terror could have been planned for quite a while could have been in the 'KAR-KAR-KAR' - see above for Jams Arber-CRA and the 'CAR-buncles ki' for '[CRA]bucolic'.
There had more than a decade ago been a return (from me) of some items to Ragna Grøver via a lawyer and he got a reply letter from her - which he unfortunately gave on to me. I should not have taken it and had to return quickly with it - having read only a few words, including the word 'fiancee' which sort of sprang from the page. The terror of 2 november 2020 could also have served to index an H/F for a 'high and see/C' (or 'he & see') which means that the last line of PEB #225 could have been the reference: "I understand: In this high castle lives my sister" - which could have been the 'fake explosive belt' - as for 'I under-stand [the high ©] in the fake explosive belt [of] my sister'. PEB #225 is an offset that corresponds appr to the year 1394. (The black plague was in 1349). Could be other aspects of the PEB could have been implemented. (For 'FI-nansierungsbeitrag' = 'fin-han-ser-ut-i-dag' = 'Thomas Klestil' who died when I registered new address in Meldeamt in Vienna in 2004 and 'HI-nansierungsbeitrag' = 'Jörg Haider' who died on the day when I registered new address in Venice in 2008 - these could make for 'to svære lande').
A great pity indeed it is if my work is used in this form - for the inner logic of terror and apparently for turning it against myself.
Finally, if there is some sense in the idea of a link between Kennedy, Vienna and London, it can be observed that if the AOI's of the Chanson apply to the 'Ostarrichi' document, then there is a certain ROI that can be read from a lack of something on the righthand side of the A in AOI. It is here that the name of 'Aron Eidsvig' etc could be of some interest.
These things may perhaps have been well known matters in the field of politics but I would guess thy were hard to prove. It is the inner structure of my PEB which could make it possible to prove or show it with more precision.
If the Chanson really were written in 1723, this year of writing would of course have been stored as secret in some safe somewhere, and then it would have been only to look up my PEB to see which poem that would be - and it would be #105.
© John Bjarne Grover
On the web 2 may 2021
