'Heimskringla' as the foundations of the Klipra connection

John Bjarne Grover

In this article I suggest - on basis of the method of dating based on my own work of poetry 'POLAKK English Bloggi' = PEB - that the old norse document called 'Heimskringla', a chronicle about old norse kings allegedly written by an icelander called Snorri Sturluson around 1225, probably was written in England in mainly the 18th century as an administrative swindle program for launching the Klipra connection which led to WWI and WWII as a gigantic british program against catholicism. These old norse stories still count as the official history of Norway - which thereby, as long as they accept the old norse stories, and to the extent that these histories are fabricated 500 years later, unfortunately come to be in the light of a nation which has been established for the british purpose of waging war against poetry and jews.


'Heimskringla' is the collection of 16 sagas about kings in Norway, allegedly written by a 'Snorri Sturluson' on Iceland in 1225. It counts as the most important source of norwegian history from these times. The official version tells that it existed in an original parchment which landed in Copenhagen, which, though, had lost its first page. The second page starts 'Kringla heimsins' which gave rise to the name of the work. When it later was destroyed in a fire, only one page of it survived. Copies had then been made by Jon Eggertson and Asgeir Jonsson, page by page.

The present study suggests that Heimskringla probably was written in the period 1688-1761 and published in 1777 for the political project which included the launching of the state of Norway in 1814 for the later Klipra connection - a hypothesis which means that referring documents presented before this would have been either antedated or presented with knowledge of the later sagas. 'Heimskringla' could have been a reference to Oslo at the end of the Oslo fjord, for the form of Oslo resembling a sort of 'omega' shape. A 'kringle' is a pastry in the form of a curve where the two ends are overlapping - which would be in the region of the current royal castle and parliament ('bukten og begge endene'). The traditionally british 'John Grover' = 'ronk röver' = 'masturbate the bottom' could be the contents of this - as if excess exercising of it could leave a 'knot' there.

It seems that the whole Kringla could have been constructed around the life of Alexander Pope (1688-1744) and that Pope, a catholic, was made by british anglican-state authorities for being the reference of this swindle program - for the eventual conclusion that 'the catholic Pope is a lier and fabricator of historic swindle'. And lies, as everybody knows, are produced in the gullet - where anglicanism may claim that the catholic host undergoes its mystic transubstantiation. Pope himself was probably not involved, though, but rather a victim of the intrigue.

The problem is that it is hard today (and it may have been already 100-200 years ago) to conclude on the degree of authenticity of the sagas on basis of data in the historic archives of the states of the world. What triggers an alarm on the authenticity is the 'semantic level' (cp. the socalled 'norwegian semantics') in 'Heimskringla': "Halkel Huk was son of Jon Smiorbalte" ('hålke' is hard ice on the road) - quotes like these are frequent in the kringla. 'Rognvald Mountain-high was son of Geirstadalf', as if the rowanberries were hanging too high up for the dwarfy fox. It seems to be a story of endless associations and variations around the forms of genitals and other body openings. This correlates with the fact that Pope was born normal but apparently attracted Pott's (!) disease (apparently attacking the lungs, but it seems that Dr.Pott described scrotum cancer) at the age of 12 and never grew taller than 1.37m, including a hunchback. My guess is that Pope's parents were agents (and would his real parents have been jews?). His father was a seller of cotton linen in London but he retired in the year when Pope was born and they moved from London to Binfield in Windsor Forest (Visthus = Auschwitz?) in 1700 where they remained untill 1716 when they moved on to Chiswick (= 'Eidsvig'?) where his father quickly died, in 1717. Pope and his mother soon moved on to Twickenham (= 'Bricks Play'?). It seems that the names and other indexes from Pope's life are important 'intelligence' parametres. Wikipedia tells that he after his studies was introduced to the literary circles in London - William Wycherley, William Congreve, William Trumbull and William Walsh - a literary matrix which could have been installed into the history by way of the Saga of Magnus Erlingson ('Great Honesty-son'). He was also involved with William Broome. How many cultural persons could have been made as representatives of the project on Pope? My dating of the sagas tells that most of them were written in the course of Pope's life, which could mean for a modelling of it and a concomitant administrative responsibility claim which later would be installed into world history as the official history of Norway with the Klipra connection of WWI and WWII, for a very tough british-anglican control with the development of the life and history of the catholic Pope. An important part of this intrigue on Pope's life seems (possibly in addition to some Williamses) to have been Jonathan Swift born in 1667. He was 'hanging around' at the university of Dublin (Trinity College) when Pope was born and got a job as personal secretary to a diplomat in 1689. My dating of the saga of 'Olaf Kyrre' from Heimskringla tells that it was written in 1688, the year of Alexander Pope's birth. The name of the newborn 'Alexander' (cp. 'the Great' for the later dwarf) rewrites to 'Olaf K-yrre' = 'yreolafk' such as 'Jonat-han-s' [wift] rewrites to 'Heimskringla' (this double lock could be the origin of 'Sherlock Holmes'). The 'Harald Harfager' saga likewise seems - from my dating by way of my 'POLAKK English Bloggi' = 'PEB' - to have been written in 1688. Swift seems to have used the pseudonym 'Isaac Bickerstaff' which could refer to 'Harald Hardfager'. My guess is that Swift, probably normally developed, could have been born to the role relative to Pope and that he worked for british administration in this role. Swift's career as author seems to have been centered upon these themes: 'The tale of the tub' could be about the penis of the naked body in the bathtub. 'The battle of books' = the battle with the ring muscle trying to keep the gases under control = 'the pale of the pub'? His books about 'Gulliver' is about big/small body statures etc. (as for Alexander the Great) = 'the gale of the gub'? Could be Pope could have been a 'Strassenbarn' if he had not got this catholic family to grow up with = 'the sale of the sub'? In his poetic production, Swift seems to have been an imitator or at least admiror of Abraham Cowley who died a few days before Swift was born = 'the rail of the rub'. His daily dispatches by post of diary papers to 'Stella' could count as public reports on 'intercourses with the female' = 'the nail of the nub', 'the mail of the mub' (he seems to have related to two females) etc. 'The pail of the Pope' could have been his project - a 'tap-geysir'. The pale of the Pott. The water pipe, the old nose pipe. (The black sea loop?) I don't know if this is a just interpretation of Swift, but it is probably possible to reconstruct it like that. If he by these matrices related to Pope with a potential or looming redundancy on the form of a 'sale of the sub', it could have been for the anglican-state aspirations as against the Vatican.

Pope was involved with the 'Scriblerus Club' who naturally are associated with the authorship of fraudulent sources - at least there exists a fictional biography on a 'Martinus Scriblerus'. The club could have been for the purposes of keeping the catholic Pope under a threat - it was under the informal 'protection' of the king and the government. The club was led by the queen's personal doctor John Arbuthnot (there is a place near Aberdeen with that name) and included the members Jonathan Swift, John Gay and Thomas Parnell. Whether Parnell really existed or is a later fabrication of 'thomas bomull' = 'dubious cotton' (as from Pope's father's shop), hence the Beowulf epic which was rescued from the flames of Cotton's library, I don't know. It could have been about the origins of Pope, for example, when his father sold cotton bedsheets, and one naturally wonders if Beowulf was written by Pope (which it probably was not). Cp. also the Dead Sea Scrolls which could have been modern sandblasted bedsheets. Aung San in Burma was 'blasted' (by a 'San-blaster') around the time of the finding of them in a desert cave.

Pope could have been a product of british administration, and it seems that the project was the construction of the fictional kingdom of Norway - hence its 'Nowhere' name - in 1814. For this launch of the giant fiction, they could have made another three giants of their parnassus - Byron, Keats and Shelley - working in the first years of this kingdom of Norway. The three poets also represent the three main 'british' religious-political parametres genocide, cannibalism and pederasty. When Heimskringla was launched in 1777, it could have been for just these purposes.

Here is the list of years of writing of the sagas in Heimskringla (http://omacl.org/Heimskringla) which I have arrived at by way of (somewhat quick) comparisons with my PEB. The interpretation of the series is based on Pope's life:


Birth 1688 and childhood:
1688 - Olaf Kyrre = Al Pope (cp. Al Gore)
1688 - Harald Harfager = Jon Swift (cp. Bill Clinton)
1693 - Magnus the Good = abuse program on Pope? 'gutt' = 'boy'

Youth and first literary contacts:
1701 - Ynglinga Saga = puberty
1706 - Magnus Erlingson = literary matrix of 'honest' Williamses

Chiswick, Twickenham, Scriblerus Club:
1718 - King Harald Grafeld and Earl Hakon Son of Sigurd = Jon Swift
1718 - Sigurd the Crusader and His Brothers Eystein and Olaf = Thomas Parnell
1720 - Halfdan the Black = John Gay
1723 - Hakon the Good = Al Pope
1723 - Magnus Barefoot = Dr.Arbuthnot

Death 1744:
1742 - King Olaf Trygvason = heimskrin-gla, kiste-glad, before Pope's death
1748 - Harald Hardrade = after Pope's death
1750 - Olaf Haraldson (St. Olaf) = sanctification of 'The Pope'

The making of Pope's followers:
1758 - Hakon Herdebreid ("Hakon the Broad-Shouldered") = Keats, cannibalism
1761 - Magnus the Blind and Harald Gille = Shelley, pedophilia
1761 - Sigurd, Inge, and Eystein, the Sons of Harald = Byron, genocide

On Pope's death: He died in his home in the surroundings of his 'friends' and had allegedly called for the last priestly rites the day before (as probably the priest reported). The 1750 saga is hopefully not about Ötzi (the saga could start 'Olaf, son of has-all humid-green, was brought up by Sisyphos').

'Gutt' is norwegian for 'boy'. 'Magnus the Good' was written while Pope was a boy, and that could have been (if not for an abuse program) for identifying 'Hakon the Good' as Pope in the Scriblerus Club - as big as a boy - 30 years later. But that could also mean an abuse program in childhood - for a turning of the roles 'dirty' years later. Could be the same symbolism as Kursk-and-Cole for me - with the 30666 days and so forth. It would also, if written in 1693, have served as a responsibility claim on the short body height of Pope as member of the later Scriblerus Club under the 'protection' of king and government.

'Gråfeld' = 'grey fur/hide', hence 'Son of Sigurd' = 'Jon at hans' plus the 'weft' of 'gråfeld'. This sort of semantics applies to many of the assumed references here.

For the idea of Al Gore as a correlate to Al Pope, one could think that the project on me could be a function similar to Pope but with international terror instead of international historic swindle. (My school dentist in 1970 drilled away most of my teeth and of course the amalgam is not there forever). When there is a direct line of continuation from the Pope project up to the present day, it means that international protests against terror would mean international protests against poetic logic. That is why it is so important to get to the truth of the story. There is a very deep sort of misunderstanding which gives the terror-organizers a shade of false legitimacy and that is in the idea that poetry = terror in the sense that my PEB = Heimskringla. This sort of logic could be prevailing in much modern politics - creating very deep confusions. It could also be behind even a Jar connection - e.g. in a version a la 'Gravskringla'. 'Heim-skrin' = 'home-box', a sort of 'jar'. This Heimskringla seems to be a lot of double-talk with 'onanism' and 'homo' in the double bottom of the language, and it is likely that the britons probably could have perceived something like the present equation PEB = Heimskringla and understood that it was of some importance but have been tragically unable to take it seriously and have turned it into a tragic ridicule of the human race.

My Kaspersky Anti-Virus stopped functioning - it could not update to more than 70%. So I wrote (after having reformatted and reinstalled new version) twice to the company for help and was each time asked to inquire at another department of theirs, while the blocking file was changed. One guesses of course that this is for getting business profit out of the terror, which even could be affiliated with 'Heimskringla' - could even be for reasons of norwegian associations?

For finding the offset in my PEB, compute as follows: My PEB was written (mainly) in 2009. Compute the difference in year of writing and multiply with 0.366 and round off upwards. For 'Olaf Kyrre': (2009-1688) * 0.366 = 117.486 = offset 118. Then take the number of words in the saga (with or without the headlines inserted in the version on http://omacl.org/Heimskringla) and divide with 366, which gives the size of each fragment of saga. For Kyrre, there are 2767 words in the saga (the shortest of all the Heimskringla sagas, whether that be a coincidence or not), which means 2767 / 366 = 7.56 words per PEB poem. (The longest saga is Olaf Haraldson = St.Olaf saga with more than 300 words per sonnet). The parallelism starts with the beginning of Olav Kyrre Saga on my sonnet #118 - the first 7.5 words - and the last 7.5 words of the saga correlates with my PEB #117. Hence PEB 118 = 'Olaf remained sole king of Norway after', PEB 119 = 'the death (A.D. 1069) of his brother King' etc.

Since the english text allegedly has been translated from another original language, it means that the parallelisms soon should get out of the strict measure after only a few lines and undulate back and forth around the strict measure. The precise parallelism computed in this way will therefore expectedly obtain only to the beginning and end, and even there it will slip off the precise computations after only a few words. It will, though, on the average make some sense, or the proper fragment will normally be quite near. A test could be to compute e.g. where sonnet #49 will have its correlate: Normally one should not expect to find it right away in the translated version but a 'Library Zhikorsky Mourner' should normally not be so far away if the correlation is relevant. Two examples:

'Magnus Good Saga' will by strict measure have its PEB #49 at 2228-2195 (headlines computed as part of the saga), which are "[board] ship and sailed to Scania, and from thence to Gautland, and at last to the Swedish King. King Magnus landed in Fyen, and plundered and burned over all; and all of Svein's men", which should be good enough. If 'King Magnus landed in Fyen' etc is not close enough to the helicopter, one finds the following fragment on words 2284-2262: "Their deadly hate - such wild work made On them and theirs, that from his fury, Flying for life, away they hurry" where 'Library Zhikorsky Mourner' could be 'his fury flying for life away'.

'Magnus Erlingson Saga' has on the precise position (headlines included) for PEB #49 at 2228-2192 "time in peace and safety, if thou wert to follow the counsels of the heart only. Earl Erling ordered Harald to be taken to Nordnes, where he was beheaded. 36. EYSTEIN EYSTEINSON AND THE BIRKEBEINS. There [was a man called Eystein, who]". Here "Nordnes, beheaded - where he was " can perhaps be understood as 'Library Zhikorsky Mourner', which is not bad when it is the exact position. Could the saga (this 'hallmark of integrity') quite simply have been written in the english of this translation? (Or even all of the available Kringla?) It could, though, certainly have landed there by sheer translation-undulation coincidence - as could the one from Magnus Good saga as well.

'Olaf Kyrre' (the shortest saga) has the following lines where the italics are in accordance with the strict measure of PEB #100 while the bold types are perhaps a better correlate, or maybe not: "glory won, Pours out with readygiving hand His wealth on children of the land. 'Brave clothes to servants he awards, Helms and ringmail coats grace his guards; Or axe and sword Har's warriors gain, And" Hence it would be natural to test a three fragments' displacement as well, even if the original could have been closer than the translation. Or read 'battle' for 'bottle'.

I bring an example of Olaf Haraldson's saga (the longest saga), which contains 116.502 words when headlines are included, 115.004 words without headlines (these numbers can be refined by ways of counting). Here is the fragment for PEB #100 - if headlines are included, it starts after the bold types and goes to the end, and if headlines are omitted it starts at the beginning and goes to the beginning of the italics:

O'er the common test enough." After this they sailed to Finland and plundered there, and went up the country. All the people fled to the forest, and they had emptied their houses of all household goods. The king went far up the country, and through some woods, and came to some dwellings in a valley called Herdaler, -- where, however, they made but small booty, and saw no people; and as it was getting late in the day, the king turned back to his ships. Now when they came into the woods again people rushed upon them from all quarters, and made a severe attack. The king told his men to cover themselves with their shields, but before they got out of the woods he lost many people, and many were wounded; but at last, late in the evening, he got to the ships. The Finlanders conjured up in the night, by their witchcraft, a dreadful storm and bad weather on the sea; but the king ordered the anchors to be weighed and sail hoisted, and beat off all night to the outside of the land. The king's luck prevailed more than the Finlanders' witchcraft; for he had the luck to beat round the Balagard's side in the night. and so got out to sea. But the Finnish army proceeded on land, making the same progress as the king made with his ships. So says Sigvat: -- "The third fight was at Herdaler, where The men of Finland met in war The hero of the royal race, With ringing sword-blades face to face. Off Balagard's shore the waves Ran hollow; but the sea-king saves His hard-pressed ship, and gains the lee Of the east coast through the wild sea." King Olaf sailed from thence to Denmark, where he met Thorkel the Tall, brother of Earl Sigvalde, and went into partnership with him; for he was just ready to set out on a cruise. They sailed southwards to the Jutland coast, to a place called Sudervik, where they overcame many [viking ships].

It must be emphasized that I have not had access to any data beyond the saga texts themselves when establishing these years of writing. It is apparently in the scope of my PEB to find the year of writing of a text - which could lend to the study an independent source of year of writing which secret archives cannot provide without a heavy weight of possible intrigue. Hence my book should be published.

Most importantly, it must be noticed that there seems to be a principle of 'diagonal' around the circle of 366 poems for the interval of 1000 years, which means that if you take any poem and add 183 poems = minus 500 years to it, you will generally find something comparable, although often with some 'turned features'. This is because poetic semiosis is like this - it is nothing which I have constructed on purpose. (My sonnets of the PEB are totally free of any sort of 'construction principles' beyond the requirement of 14 lines with some rhymes on line ends). This means that the interval from e.g. 1723 of Magnus Barefoot back to 1223 of Snorri comes in as demanding attention. If the correlation of 1723 = offset 105 leads to the conclusion of relevant correlation, then there is likely to be some traces of it at offset 288 = 1223 as well. What makes most sense is a matter of comparison, although my view is that the comparisons around 1200 are not so interesting. The phenomenon emerges also from Magnus Good Saga, which is a little hard to get into a certain slot of year around 1700. I landed (on basis of the initial fragments) on 1693 and 1750 as most likely. Looking up the diagonal, I find that 1193 is the most perfect of these and indeed one would be inclined to believe - on basis of the initial fragments - that the saga is indeed written in that year. A possible explanation could be that the saga was written in 1693 but later somewhat reworked, and this rework has left the impression of 1193 as 'the diagonal'. This is at least a possible explanation - if one needs an explanation why it was not written in 1193. Likewise, 1248 is perhaps a better guess than 1748 of Harald Hardrade as compared with the initial fragments. If the sagas are swindle as far as year of writing is concerned but nevertheless exhibit a surprising degree of resistance against attacks on their authenticity, it could be due to this phenomenon of 500 years. What does call for attention in any case is the surprising correlation with the life of Pope.

I emphasize that the dating of the years of writing I have arrived at is tentative and based on my intuition and rather quick work more that a thorough study fragment by fragment throughout the texts. A proper philological study could do much more for establishing the year of writing with certainty - but that can be much work for each saga. In addition, a philologist would have to convince him- or herself that my PEB really is a relevant tool for establishing year of writing of any text of literary prose. Which would be a qualitative great leap forwards and a major achievement of my work (a pity I have to say this myself). Which means even more work to be done for an interested scholar. It means, in any case, that the book must be published.

For a continued discussion, see this article on Apuleius - of high relevance to the present article.



© John Bjarne Grover
On the web 2 September 2011
Last updated 3 March 2012