Nordisk Filologi

Total Page:16

File Type:pdf, Size:1020Kb

Nordisk Filologi ARKIV FÖR NORDISK FILOLOGI UTGIVET MED UNDERSTÖD AV AXEL KOCKS FOND FÖR NORDISK FILOLOGI SAMT STATSBIDRAG FRÅN SVERIGE DANMARK OCH NORGE GENOM KARL GUSTAV LJUNGGREN UNDER MEDVERKAN AV JOHS. BRØNDUM-NIELSEN JÓN HELGASON VALTER JANSSON TURE JOHANNISSON MAGNUS OLSEN DIDRIK ARUP SEIP PETER SKAUTRUP ELIAS WESSEN SJUTTIOFÖRSTA BANDET. FEMTE FÖLJDEN. FEMTONDE BANDET. C. W. K.GLEERÜP ROSENKILDE OG BAGGER LUND KÖPENHAMN LUND MCMLVI INNEHÅLL Andersen, Harry, Universitetslektor, Köpenhamn, Runedansk a i l t i ..................................................................................................... 248 Bergman, Gösta, Docent, Stockholm, Syssling och tremänning . 205 Carlsson, Lizzie, Fil. mag., Lund, Den äldre Västgötalagens »til h o g s »........................................................................................ 28 Eis, G erh ard , Professor, Heidelberg, Das eddische »Traumlied» 177 Genzmer, Felix, Professor, Tübingen, Das Walkürenlied . 168 Gutenbrunner, Siegfried, Professor, Freiburg i. Br., Edda­ studien I I ........................................................................................ 14 K iil, V ilhelm , Dr. philos., Oslo, Eilifr Godrúnarson’s Þórsdrápa 89 Lie, Hallvard, Professor, Oslo, Hvor bodde Harald Hårfagre ifølge Haraldskvædi 5 ? ................................................................ 25 Lindblad, Gustaf, Professor, Stockholm, Relativ satsfogning i vårt äldsta bibelarbete. Ett bidrag till rekonstruktionen av Fornsvenska Pentateukparafrasens ark ety p ............................ 46 Ljunggren, Karl Gustav, Professor, Lund, Ytterligare om termerna avledning och retrograd avledning .............................. 69 — Litteraturkrönika (1954—1 9 5 5 ) ................................................ 71 Lom an, B engt, Fil. lic., Lund, Om relationen mellan ordföljd och betydelse hos framförställda attributiva bestämningar till substantiviska huvudord ................................................................. 218 Mattsson, Gösta, Universitetslektor, Lund, Johan Palmérf . 249 Naert, Pierre, Docent, Lund, Åter rn>(r)dn i färöiskan och is­ ländskan ............................................................................................. 244 Neuman, Erik, Professor, Lidingö, Missförstådda ljudföränd­ ringar ......................................................................................................187 Salberger, Evert, Universitetslektor, Lund, Versifikatoriskt om Tjurkö-brakteaten ........................................................................ 1 Seip, Didrik Arup, Professor, Oslo, Har islandsk hatt pronomen­ formene do, po, to för þ ú ?..................................................................172 — En rettelse til Frostatingsloven ..................................................... 245 Åkermalm, Åke, Lektor, Ludvika, Om termerna avledning och retrograd avledning ........................................................................ 66 — Äldre Västgötalagens »til hogs». Ett genmäle...................................246 Till red. insända sk rifte r ......................................................................... 252 EVERT SALBERGER Versifikatoriskt om Tjurkö-brakteaten. Denna guldbrakteat (br. 75),1 vilken förutom sin bildutsmyckning — ett starkt degenererat manshuvud över ett fyrbent djur med en egen­ domlig fågel framför — bär en välbevarad och värdefull runinskrift i den germanska futharken, blev funnen i februari 1817 på Tjurkö vid Karls­ krona. På fyndplatsen, som ligger nära kusten, påträffades samtidigt tre andra brakteater och ett guldmynt och några år senare fann man ytterligare ett guldmynt. Av dessa brakteater är två, nämligen br. 76 och br. 77 — till skillnad från Tjurkö-brakteaten 1 betecknade som Tjurkö-brakteaten 2 och 3 —försedda med inskrifter; br. 76 har inskriften ota i äldre runor och br. 77 en inskrift med förvanskade latinska bok­ stäver; den tredje brakteaten har ingen inskrift. Av guldmynten, båda präglade under Theodor II:s regering, bär det först funna, som är försett med grepe, årtalet 443. Fynden gjordes i botten av vegetationslagret i en stenig backe utan att spår av någon grav iakttogs på platsen. Det på någon detalj när tydliga skriftbandet på br. 75 löper från vänster till höger runt om brakteatens kant och inramar bildframställ­ ningen. Runogrammet, som inte har andra skiljetecken än två punkter på ett ställe och tre punkter på ett annat ställe, läses enligt DR, sp. 548: ... wurterunoiianwalhakurne .. heldankunimudiu vilket får tydningen: »Hjald gjorde runerne på det vælske ’korn’ for Kunimund». Om man bortser från vissa smärre skador, som vållats vid pärlkantens pålödning, är inskriften väl bevarad, varför läsningen av de enskilda runtecknen inte har berett några större svårigheter. Endast i två fall har det förekommit tvekan: vid första a-runan i följden walhakurne, som 1 DR = Danmarks Runeindskrifter ved Lis Jacobsen og Erik Moltke under Medvirkning af Anders Bæksted og Karl Martin Nielsen. Text, Atlas, Registre. Kbhvn 1941— 42; sp. 548. 1 ARKIV FÖR NORDISK FILOLOGI LXXI. 2 Evert Salberger [2 ganska länge utlästes som 1-runa1 men som efter att von Friesen2 upp­ täckt spår av en övre bistav nu allmänt läses som a-runa, och vid d-runan i följden heldaR, vilken alternativt stundom läses som m-runa.3 Läsningen walhakurne får anses slutgiltig och heldaR är väl att föredraga framför helmaR. Om enighet således i stort sett kan sägas råda ifråga om inskriftens läsning, så gäller detta däremot inte om dess läsordning. Det föreligger två möjligheter: man kan låta inskriften börja antingen vid de två punkterna och läsa: .. heldaRkunimudiu ... wurterunoRanwalhakurne eller vid de tre punkterna och läsa: ... wurterunoRanwalhakurne .. heldaRkunimudiu Valet mellan de båda alternativen sammanhänger med frågan om in­ skriftens versifiering och skall diskuteras längre fram; avgjort sannolikast är ur flera synpunkter att man skall börja läsningen vid de tre punkterna. Inskriftens ordgränser är klara; runföljden: wurterunoRanwalhakurne låter sig naturligt uppdela: wurte runoR an walhakurne med ett samman­ satt ord walhakurne till slut och runföljden: heldaRkunimudiu är att klyva: heldaR kunimudiu med likaledes ett sammansatt ord: kunimudiu till slut. Vad tydningen av de enskilda orden beträffar, kan denna sägas vara slutgiltig utom av runföljden walhakurne. Ordet wurte ’gjorde’ är 3. pers. pret. ind. sing, av ett urn. *wurkian, fnord. yrkia, jfr worahto (Tune), wrta(a) (Etelhem), orte (By) och urti (Sölvesborg), runoR ’runor’ är ack. plur. av en o-stam, jfr samma form runoR (Järsberg), -ronoR (Stentoften), -runAR (Björketorp), runait (Rök) etc., an ’å, på’ är prep. fisl. å etc., jfr $ (Eggjum, Rök etc.) — någon äldre form ana på Möjebro-stenen torde ej böra hävdas. Heldan, formellt nom. sing. mask. av en a-stam, torde vara ett mansnamn — det sammanställes av R. Much4 med ett gall. C situs och 1 DR, sp. 547 f., bibliografi. 2 O. von Friesen, Lister- och Listerby-stenarna i Blekinge. Uppsala 1916, s. 65, not 1. 3 S. Bugge, Bemærkninger om runeindskrifter på guldbrakteater, i: Aarbøger for nord. Oldkyndighed og Historie (1871), s. 194; O. von Friesen, Rö-stenen i Bohuslän och runorna i Norden under folkvandringstiden, Uppsala 1924, s. 91 f.; id., De germanska, anglosaxiska och tyska runorna, i: Nordisk kultur, VI, Sthlm ... 1933, s. 19. 4 R. Much, Deutsche Stammeskunde (1905), s. 51. 3] Versifikatoriskt om Tjurkö-brakteaten 3 av A. Noreen1 med ett västn. Hialdr — och kunimudiu att läsa kuni- mu<n)diu med den homorgana nasalen obetecknad, jfr t. ex. ragina- ku<n>do (St. Noleby), agilamu<n>don (Rosseland), widuhu<n)daR (Himlingøje), $smu<n>t (Sölvesborg), formeilt dat. sing. mask. av en w-stam har också allmänt uppfattats som mansnamn och jämförts med ags. Cynemund, fht. Cunimunt. Namnförleden kuni-, som torde gå tillbaka på ett äldre *kunja- liksom hAri- i hAriwolAÎR (Stentoften), hAriwulafa (Istaby), hariuha (Själlands-brakteaten) på ett äldre *harja- jfr aljamarkiR (Kårstad), är f. ö. knappast belagd på nordiskt område. — Vad hittills genomgåtts av inskriften — allt utom runföljden walhakurne — mot­ svaras tydningsmässigt av: Gjorde runor(na) på Hjald åt Kunmund. Stötestenen för tydningen har runföljden walhakurne varit. Flera för­ slag har framställts men knappast något, som förmått övertyga helt. Två huvudmeningar kan urskiljas: ett ortnamn eller en beteckning för brak- teaten. Det förra alternativet förfäktades tidigast av Sophus Bugge: »Dette substantiv betegner efter min formodning ikke gjenstanden, på hvilken runerne er anbragte, men er vel navnet på stedet, hvor run- mesteren boede; aldeles på samme måde nævnes på mynter stadig mynt- stedet i dativ styret af præpositionen on.»2 Bugge uppfattade ’dette stedsnavn’ som tydligt sammansatt: walha-kurne. Förleden samman­ ställde han riktigt med ags. Wealh, fht. Walah, fvn. Valir, om galler, kelter ’vælskmand’. Om efterleden ville han inte uttala någon bestämd mening men tänkte sig, att den kunde stå i förbindelse med ordet korn. Bugges tydning vann med någon modifikation de närmaste åren allmän anslutning,3 och huvudtanken — att walhakurne är ett ortnamn — har långt senare hävdats på nytt, om ock i annan form. Von Grienbergers förslag,4 vilket går ut på att uppfatta walhakurne som ett ord *walh- åkurne, vars slutled skulle vara en %-avledning med tillhörighetssuffixet -ma till det också i ortnamn välkända ordet got. akrs, urn. *akra,Ri fnord. akr, nsv. åker, och med en betydelse ’välsk åker’, för dock inte fram. Ordbildningen verkar onaturlig och de förutsatta ljudprocesserna
Recommended publications
  • Arkeologisk Tidsskrift Primitive Tider Utgis Av Marie Ødegaard (Redaktør), Hege Skalleberg Gjerde, Gaute Reitan, Marte Spangen, Vibeke M
    21 arkeologisk tidsskrift Primitive tider utgis av Marie Ødegaard (redaktør), Hege Skalleberg Gjerde, Gaute Reitan, Marte Spangen, Vibeke M. Viestad og Mari Arentz Østmo Sektretær: Andreas Ropeid Sæbø ISSN 1501-0430 Postadresse: Primitive tider Postboks 6727, St. Olavs plass 0130 Oslo E-post: [email protected] / [email protected] Internett: https://journals.uio.no/PT/index Ombrekk: Hege S. Gjerde Trykk: Reprosentralen ved Universitetet i Oslo ©Primitive tider. Ettertrykk for mangfoldiggjøring kun etter avtale med redaksjonen. Forsideillustrasjon: Handelsrelaterte gjenstander fra Vikingtid. Foto: Åge Hojem, NTNU Vitenskapsmuseet. Fra artikkelen Metallsøkerfunn som grunnlag for kunnskap og vern. En case-studie fra Sunndal – et knutepunkt i jernalder og middelalder av Dahle et al. s.81-99. Skrive for Primitive tider? Primitive tider oppfordrer spesielt uetablerte forfattere til å skrive. Vi er interessert i artikler, kommentarer til tidligere artikler og rapporter (enklere, ikke fagfellevurderte tekster). Kanskje blir din artikkel neste nummers debattema! Send inn ditt manuskript og la det få en faglig og seriøs vurdering av redaksjonen. Husk at hele prosessen kan være tidkrevende, så planegg i god tid. Innleveringsfrister finner du på våre nettsider. Det er likevel ingen grunn til å vente til siste øyeblikk, send gjerne inn før fristen! For å lette arbeidet for deg og for oss, er det helt nødvendig at du setter deg godt inn i forfatterveiledningen og følger den. Forfatterveiledningen finner du på våre nettsider: https://journals.uio.no/PT/index Artikkelutkastet bør lengdemessig omtrent tilsvare den ferdige artikkelen. Det må med andre ord være noe mer enn en skisse/ løse ideer, men også vesentlig kortere enn en avhandling.
    [Show full text]
  • Norse Mythology
    N O R S E M Y T H O L O G Y N E I L G A I M A N W. W. NORTON & COMPANY Independent Publishers Since 1923 New York • London FOR EVERETT, OLD STORIES FOR A NEW BOY. C O N T E N T S An Introduction THE PLAYERS BEFORE THE BEGINNING, AND AFTER YGGDRASIL AND THE NINE WORLDS MIMIR’S HEAD AND ODIN’S EYE THE TREASURES OF THE GODS THE MASTER BUILDER THE CHILDREN OF LOKI FREYA’S UNUSUAL WEDDING THE MEAD OF POETS THOR’S JOURNEY TO THE LAND OF THE GIANTS THE APPLES OF IMMORTALITY THE STORY OF GERD AND FREY HYMIR AND THOR’S FISHING EXPEDITION THE DEATH OF BALDER THE LAST DAYS OF LOKI RAGNAROK: THE FINAL DESTINY OF THE GODS A Glossary A N I N T R O D U C T I O N It’s as hard to have a favorite sequence of myths as it is to have a favorite style of cooking (some nights you might want Thai food, some nights sushi, other nights you crave the plain home cooking you grew up on). But if I had to declare a favorite, it would probably be for the Norse myths. My first encounter with Asgard and its inhabitants was as a small boy, no more than seven, reading the adventures of the Mighty Thor as depicted by American comics artist Jack Kirby, in stories plotted by Kirby and Stan Lee and dialogued by Stan Lee’s brother, Larry Lieber. Kirby’s Thor was powerful and good-looking, his Asgard a towering science fictional city of imposing buildings and dangerous edifices, his Odin wise and noble, his Loki a sardonic horn-helmeted creature of pure mischief.
    [Show full text]
  • Year 7: Myths and Legends Home Pack
    Year 7: Myths and Legends home pack Name: Form: Teacher: School week 7 W.C. 02.11.2020 Lesson 1: This week, you are going to look at the introduction of the human hero. Previously to this, our focus has been on characters who are Gods or part of the supernatural in some way. What is a hero? How many examples can you give of a hero? • • • • • • Below are Propp’s character conventions. These are characters you can expect to see in a traditional adventure story and what their role is. How do you think the heroic figure has changed over time? Think about what the Greek expectations were, then Roman and what we are familiar with today. Greek Roman Modern In the past, we have looked at heroes as masculine figures. Do you think this is still relevant today? Do we expect heroes to be masculine? Explain your thinking. Why is it important to have a human hero? How does it impact the story and the reader’s relationship with it? Lesson 2: What are the purpose of the following characters, according to Propp’s conventions. Do this from memory first and then you can look back to complete any that are missing. Hero – Villain – Doner – Helper – Princess – Dispatcher – Princess’ father – False hero - Read ‘The Sword in the Stone’. Does it fit any of the seven basic plots? Which one and why? How is Arthur presented as a heroic character? Use the questions below to help you: What is Arthur like? Arthur is presented as a heroic character as he is… How does the text show us this? This is shown when… The Sword in the Stone Our story begins in the fifth century with King Uther who reigned in the south of Britain.
    [Show full text]
  • Progression and Return in Västanå Theatre’S Retelling of the Edda (2019)
    Progression and Return in Västanå Theatre’s Retelling of the Edda (2019) Anna Swärdh, Stockholm University, Sweden Abstract In 2019, Västanå Theatre staged Jon Fosse’s Edda, a theatrical adaptation of myths from the Poetic Edda. This essay focuses on a number of formal devices used to adapt the Norse myths at Västanå, the dumb show convention perhaps offering the most stylized form of expression of these. The essay shows how the production helped the audience negotiate between a linear and a circular understanding of time, through formal and structural means: staging, selection and ordering of episodes signalled a strong initial focus on the inevitability of Ragnarök, while circularity and return were highlighted through the ending in which the world was reborn, but also through other features that stressed repetition and retelling. The essay argues that the dumb show convention could be taken as emblematic of the production’s negotiation between the two timelines, but it also shows how the device helped adapt female characters into more powerful agents, how it added hope in the form of young love, and how it functioned to draw attention to narration, words, and poetry. Keywords: Jon Fosse; Edda; Poetic Edda; Västanå Theatre (Västanå Teater); adaptation; dumb show It has been suggested that the dumb show—‘a passage of silently mimed action’ (Dobson 2013: 398)—is ‘no longer a meaningful theatrical convention’ (Lopez 2017: 305), but Västanå Theatre’s (Västanå Teater) 2019 production of the Edda showed that it is a device that can still be
    [Show full text]
  • Frostburn: Mastering the Perils of Ice and Snow, and Their Respective Logos, and Wizards Product Names Are Trademarks of Wizards of the Coast, Inc., in the U.S.A
    CREDITS DESIGNERS ART DIRECTOR WOLFGANG BAUR, JAMES JACOBS, Dawn Murin GEORGE STRAYTON COVER ARTIST DEVELOPMENT TEAM Sam Wood RICHARD BAKER (LEAD), ANDREW J. FINCH, DAVID NOONAN, JAMES WYATT INTERIOR ARTISTS Steve Bel l edin, Mitch Cotie, Ed Cox, EDITOR Dennis Crabappl e McCl ain, Steve El l is, GREG COLLINS David Griffith, David Hudnut, MANAGING EDITOR Dana Knutson, Doug Kovacs, Dan Scott GWENDOLYN F.M. KESTREL GRAPHIC DESIGNER DESIGN MANAGERS Dee Barnett, Trish Yochum CHRISTOPHER PERKINS, ED STARK CARTOGRAPHERS DEVELOPMENT MANAGER James Jacobs, Todd Gambl e ANDREW J. FINCH DIRECTOR OF RPG R&D GRAPHIC PRODUCTION SPECIALIST BILL SLAVICSEK Erin Dorries PRODUCTION MANAGERS IMAGE TECHNICIAN JOSHUA C.J. FISCHER, RANDALL CREWS Robert Jordan Resources: Epic Level Handbook, Arms and Equipment Guide, FORGOTTEN REALMS Campaign Setting, World of Greyhawk Campaign Setting, Living Greyhawk Gazetteer, Monsters of Faerûn, Races of Faerûn, Oriental Adventures, Dragon Magazine, and Book of Vile Darkness. Based on the original DUNGEONS & DRAGONS® rules created by Gary Gygax and Dave Arneson, and the new DUNGEONS & DRAGONS game designed by Jonathan Tweet, Monte Cook, Skip Williams, Richard Baker, and Peter Adkison. This product uses updated material from the v.3.5 revision. This Wizards of the Coast ® game product contains no Open Game Content. No portion of this work may be reproduced in any form without written permission. To learn more about the Open Gaming License and the d20 System License, please visit www.wizards.com/d20. U.S., CANADA, ASIA, PACIFIC, EUROPEAN HEADQUARTERS & LATIN AMERICA Wizards of the Coast, Belgium Wizards of the Coast, Inc. T Hofveld 6d P.O.
    [Show full text]
  • A Player's Guide Part 1
    A Player’s Guide Effective: 7/1/2012 Any game elements indicated with the † symbol may only be used with the Golden Age format. Any game elements indicated with the ‡ symbol may only be used with the Star Trek: Tactics game. Items labeled with a are available exclusively through Print-and-Play. Any page references refer to the HeroClix 2011 2012 Core Rulebook. Part 1 – Clarifications Section 1: Rulebook 3 Section 2: Powers 7 Section 3: Abilities 9 Section 4: Characters and Special Powers 11 Section 5: Special Characters 27 Section 6: Team Abilities 29 Section 7: Additional Team Abilities 31 Section 8: Battlefield Conditions 33 Section 9: Feats 35 Section 10: Objects 41 Section 11: Maps 43 Section 12: Resources 47 Part 2 – Current Wordings Section 13: Powers 49 Section 14: Abilities 53 Section 15: Characters and Special Powers 57 Section 16: Team Abilities 141 Section 17: Additional Team Abilities 145 Section 18: Battlefield Conditions 151 Section 19: Feats 155 Section 20: Objects 167 Section 21: Maps 171 Section 22: Resources 175 How To Use This Document This document is divided into two parts. The first part details every clarification that has been made in HeroClix for all game elements. These 48 pages are the minimal requirements for being up to date on all HeroClix rulings. Part two is a reference guide for players and judges who often need to know the latest text of any given game element. Any modification listed in part two is also listed in part one; however, in part two the modifications will be shown as fully completed elements of game text.
    [Show full text]
  • The Daniel Black Series
    The Daniel Black Series Jumpchain CYOA Version 1.0 By JJosua, Ursine The Mad Bear, and blackshadow111 The Wise Grenade Oh hey hello there, Jumper! This is an interesting tale you’ve ended up in, for sure. This particular setting’s story starts as an immensely powerful woman picks up a simple, ordinary young man from an ordinary world, and brings them across realities to serve her own purposes in many and varied ways. Sound familiar? Anyway, this is a world rather similar to Earth but Not So at the same time, in many small and huge ways. To put it the simplest it possibly can be put, the mythologies of the world are real. As in the whole shebang, gods, demons, dryads and fairies, all that exists, and it’s all had a variety of very interesting effects on the world. Firstly, this is no neat and clean fantasy world where pantheons upon pantheons of gods and different races all live in harmony. No sirree, this is a world where they war, they act and interact, and in general tend to make a mess of things. Because you see, these are not the nice, clean versions you might have heard of. Oh no. The current state of things is that Olympus fell long ago, not to Titans or Giants but to the ravening berserkers of Asgard. The gods of Greece died, their goddesses and virgin priestesses raped, and Aphrodite is right now a communal sex slave in the Realm Eternal. So… yeah. That kind of world. That said, it’s Ragnarok’o Clock, and the Fimbulwinter is already descending upon Europe as you arrive.
    [Show full text]
  • Norse Mythology
    N O R S E M Y T H O L O G Y N E I L G A I M A N W. W. NORTON & COMPANY Independent Publishers Since 1923 New York • London FOR EVERETT, OLD STORIES FOR A NEW BOY. C O N T E N T S An Introduction THE PLAYERS BEFORE THE BEGINNING, AND AFTER YGGDRASIL AND THE NINE WORLDS MIMIR’S HEAD AND ODIN’S EYE THE TREASURES OF THE GODS THE MASTER BUILDER THE CHILDREN OF LOKI FREYA’S UNUSUAL WEDDING THE MEAD OF POETS THOR’S JOURNEY TO THE LAND OF THE GIANTS THE APPLES OF IMMORTALITY THE STORY OF GERD AND FREY HYMIR AND THOR’S FISHING EXPEDITION THE DEATH OF BALDER THE LAST DAYS OF LOKI RAGNAROK: THE FINAL DESTINY OF THE GODS A Glossary A N I N T R O D U C T I O N It’s as hard to have a favorite sequence of myths as it is to have a favorite style of cooking (some nights you might want Thai food, some nights sushi, other nights you crave the plain home cooking you grew up on). But if I had to declare a favorite, it would probably be for the Norse myths. My first encounter with Asgard and its inhabitants was as a small boy, no more than seven, reading the adventures of the Mighty Thor as depicted by American comics artist Jack Kirby, in stories plotted by Kirby and Stan Lee and dialogued by Stan Lee’s brother, Larry Lieber. Kirby’s Thor was powerful and good-looking, his Asgard a towering science fictional city of imposing buildings and dangerous edifices, his Odin wise and noble, his Loki a sardonic horn-helmeted creature of pure mischief.
    [Show full text]
  • Learning from the Past to Understand the Present: 536 AD and Its Consequences for Man and the Landscape from a Catastrophist Perspective
    Learning from the Past to Understand the Present: 536 AD and its Consequences for Man and the Landscape from a Catastrophist Perspective Andrea Maraschi University of Bari Abstract: The global catastrophic consequences of the 536 AD ‘dust veil’ have been recorded by numerous contemporary observers. Recently, scholars have suggested that the event has been recorded, in the form of myth, in both the Elder and Snorri’s Edda. This ecocritical study aims to highlight the consistency between the description of the consequences of Fimbulvetr (‘Great Winter’) on the landscape in the Eddic tradition, and the effects of the ‘dust veil’ on the landscape of early medieval Europe. The primary intention is to endorse the opinion of scholars who hold that the myth of Fimbulvetr does in fact correspond to a historical catastrophic event that occurred in 536 AD. Furthermore, this analysis will emphasize the importance of said myth in the construction of the cultural memory of the society that witnessed and recorded it in verses. I argue that the memory of the ‘Great Winter’ was particularly valuable, for it was considered a way in which important lessons could be taught to future generations: humbleness (similar catastrophes had already happened, and could happen again), hope (mankind survived the catastrophe), and respect (for the memory of what had happened in the past, and that could recur in the future). INTRODUCTION: AN ONGOING DEBATE AND NEW PERSPECTIVES The potential relationship between archaeological evidence of the 536 AD ‘dust veil event’ and the Old Norse representation of Fimbulvetr (‘Great Winter’) has recently drawn new attention from scholars, especially following Bo Gräslund’s study.1 It was not the first time that an attempt was made to link Fimbulvetr with historical events and climate downturns: in the middle of the last century, archaeologists proposed that the myth of the ‘Great Winter’ could *I wish to express my most sincere thanks to the editors and peer-reviewers for their constructive and useful suggestions to help improve this paper.
    [Show full text]
  • Vikings, Norse Mythology, and Medievalism in Nordic Extreme Metal Music
    “A great heathen fist from the North” Vikings, Norse Mythology, and Medievalism in Nordic Extreme Metal Music. Ashley Walsh Master’s Thesis for Nordic Viking and Medieval Culture- ILN UNIVERSITETET I OSLO Autumn 2013 2 © Ashley Walsh 2013 «A great heathen fist from the North»: Vikings, Norse Mythology, and Medievalism in Nordic Extreme Metal Ashley Walsh http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo 3 Summary Viking metal is a dynamic and popular subgenre of metal music of burgeoning popularity coming primarily from Nordic countries. These musicians use their nations’ Viking histories and saga material as inspiration for their lyrics and nostalgic reimaginings of the past are used to make commentaries on modern society and hopes for the future. Viking metal bands use the Middle Ages and the Viking Age as a screen upon which to play with nostalgic imaginings of what life was like then or at least how it should have been based upon aspects of the collective memory of their communities which can include the works of historians and that of artists and political figures. They use this as a means of criticizing the modern Christian world they perceive as being weaker than the ancient one. The three main components of Viking metal are: • The idealization of a national past from which an ethnic identity can be constructed on a national, Scandinavian, or pan-Nordic level. • A staunch opposition to Christianity that is based on the perceived oppression of their ancestors in the Viking Age for which they lust for vengeance. This vengeance is described as taking place in a grand Ragnarok-inspired battle between the pagan forces and the Christian.
    [Show full text]
  • Norse Myths Pronunciation Guide
    Norse Myths pronunciation guide Tales of Norse gods and heroes have been passed down in many countries for more than a thousand years. The way many of the names are spelled and pronounced today varies in each country. Here you can see how to pronounce these names in a British English style. For some names, there is a common alternative that roughly matches the Icelandic pronunication. Aegir Eye-ear Grani Grah-nee Aesir Eye-sear Greip Grape Alfheim Alf-haym Grer G’rare Andvari And’vaa-ri Grid rhymes with hid Asgard Ass-guard Grimhild Grim-hill’d Ask Ass-k Gudrun Goo-droon Audumla Ow-doom-lar Gullfaxi Gool-fax-ee Balder Bal (as in balance) - durr Gullinbursti Goo-lin-burst-ee Bergelmir Berg-ell-mere Gullveig Gool-vague Berling Bear-ling Gungnir Goong-near Bestla Bes-tla Gunnar Gun-arr Bifrost Bye-frost or Bee-frost Hati Hat-ee Bor Bore Heimdall Haym-dahl Brisingamen Bree-sing-arm-en Hel rhymes with bell Brokk Brock Hermod Her-modd Brynhild Broon-hill-d Hod rhymes with odd Buri Boo (as in book) - ree Honir Her-near Dag rhymes with bag Hreidmar H’ray-d-marr Draupnir Drope-near Hrungnir H-roong-near Dvalin D’vaa-lin Hugi Hoo-yee Eitri Ay-tree Hymir Hay-mere Elli rhymes with belly Hyrrokkin Hay-roe-keen Embla Em-bler Idunn I (as in idiot) - dunn Fafnir Faff-near Ivaldi or I (as in idiot) - thoon Fenris Fenn-riss Ee-val-dee Fimbulwinter Fimm-bull-vinter Jormungand Your-moon-gand Frey rhymes with play Jotunheim Your-turn-haym Freya rhymes with player Lif Leaf Frigg rhymes with dig Lifthrasir Leaf-thrass-ear Geirrod Gay-rod Logi Lor-gee Gjalp
    [Show full text]
  • Viktor Rydberg's TEUTONIC MYTHOLOGY
    Teutonic Mythology TO HIS MAJESTY KING OSCAR II., THE RULER OF THE ARYAN PEOPLE OF THE SCANDINAVIAN PENINSULA, THE PROMOTER OF THE SCIENCES, THE CROWNED POET, THIS WORK IS MOST RESPECTFULLY DEDICATED BY THE AUTHOR, AND TRANSLATOR, VIKTOR RYDBERG. RASMUS B. ANDERSON. STOCKHOLM, November 20, 1887. HON. RASMUS B. ANDERSON, United States Minister, Copenhagen, Denmark. DEAR SIR, It gives me pleasure to authorise you to translate into English my work entitled "Researches in Teutonic Mythology," being convinced that no one could be found better qualified for this task than yourself. Certainly no one has taken a deeper interest than you in spreading among our Anglo-Saxon kinsmen, not only a knowledge of our common antiquity, but also of what modern Scandinavia is contributing to the advancement of culture—a work in which England and the United States of America are taking so large a share. Yours faithfully, VIKTOR RYDBERG. INTRODUCTION. A. THE ANCIENT ARYANS. 1. THE WORDS GERMAN AND GERMANIC. ALREADY at the beginning of the Christian era the name Germans was applied by the Romans and Gauls to the many clans of people whose main habitation was the extensive territory east of the Rhine, and north of the forest-clad Hercynian Mountains. That these clans constituted one race was evident to the Romans, for they all had a striking similarity in type of body; moreover, a closer acquaintance revealed that their numerous dialects were all variations of the same parent language, and finally, they resembled each other in customs, traditions, and religion. The characteristic features of the physical type of the Germans were light hair, blue eyes, light complexion, and tallness of stature as compared with the Romans.
    [Show full text]