Snorri Sturluson
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Norse Myth Guide
Norse Myth If it has a * next to it don’t worry about it for the quiz. Everything else is fair game within reason as I know this is a lot. Just make sure you know the basics. Heimdall -Characteristics -Can hear grass grow -Needs only as much sleep as a bird -Guards Bifrost -Will kill and be killed by Loki at Ragnarok -He is one of the Aesir -Has foresight like the Vanir -Other Names -Vindhler -Means "wind shelter" -The White God As -Hallinskidi -Means "bent stick" but actually refers to rams -Gullintani -Received this nickname from his golden teeth -Relationships -Grandfather to Kon the Young -Born of the nine mothers -Items -Gjallarhorn -Will blow this to announce Ragnarok -Sword Hofund -Horse Golltop -Places -Lives on "heavenly mountain" Himinbjorg -Stories -Father of mankind -He went around the world as Rig -He slept with many women -Three of these women, Edda, Amma, and Modir, became pregnant -They gave birth to the three races of mankind -Jarl, Karl, and Thrall -Recovering Brisingamen -Loki steals Brisingamen from Freya -He turns himself into a seal and hides -Freya enlists Heimdall to recover the necklace -They find out its Loki, so Heimdall goes to fight him -Heimdall also turns into a seal, and they fight at Singasteinn -Heimdall wins, and returns the necklace to Freya -Meaning of sword -A severed head was thrown at Heimdall -After this incident, a sword is referred to as "Heimdall's head" -Possession of knowledge -Left his ear in the Well of Mimir to gain knowledge Aegir* -Characteristics -God of the ocean/sea -Is sometimes said -
13. the Solar Antler in Sólarljóð
The Waning Sword E Conversion Imagery and Celestial Myth in Beowulf DWARD The Waning Sword Conversion Imagery and EDWARD PETTIT P The image of a giant sword mel� ng stands at the structural and thema� c heart of the Old ETTIT Celestial Myth in Beowulf English heroic poem Beowulf. This me� culously researched book inves� gates the nature and signifi cance of this golden-hilted weapon and its likely rela� ves within Beowulf and beyond, drawing on the fi elds of Old English and Old Norse language and literature, liturgy, archaeology, astronomy, folklore and compara� ve mythology. In Part I, Pe� t explores the complex of connota� ons surrounding this image (from icicles to candles and crosses) by examining a range of medieval sources, and argues that the giant sword may func� on as a visual mo� f in which pre-Chris� an Germanic concepts and prominent Chris� an symbols coalesce. In Part II, Pe� t inves� gates the broader Germanic background to this image, especially in rela� on to the god Ing/Yngvi-Freyr, and explores the capacity of myths to recur and endure across � me. Drawing on an eclec� c range of narra� ve and linguis� c evidence from Northern European texts, and on archaeological discoveries, Pe� t suggests that the T image of the giant sword, and the characters and events associated with it, may refl ect HE an elemental struggle between the sun and the moon, ar� culated through an underlying W myth about the the� and repossession of sunlight. ANING The Waning Sword: Conversion Imagery and Celesti al Myth in Beowulf is a welcome contribu� on to the overlapping fi elds of Beowulf-scholarship, Old Norse-Icelandic literature and Germanic philology. -
Viking Tales Chris Rose
Elementary Level Listening Worksheet Viking Tales Chris Rose The story step by step 1 Listen to The World of the Vikings’ Tales (from ‘The Vikings were people who lived in Scandinavia ...’ to ‘... at the bottom of it.’). Label the picture with the words you hear in the box. Check your answers on p.4 of the book or in the answer key. Asgard Bifrost Hel Midgard Niflheim Yggdrasil ______________________ ______________________ ______________________ Yggdrasil ______________________ ______________________ Macmillan Readers Viking Tales 1 This page has been downloaded from www.macmillanenglish.com. It is photocopiable, but all copies must be complete pages. © Macmillan Publishers Limited 2014. Elementary Level Listening Worksheet 2 Listen to The World of the Vikings’ Tales again (from ‘Odin was the chief of the gods.’ to ‘... they died’). Complete the missing information you hear about the people who lived in the Viking world. Check your answers on pp.4–7 of the book or in the answer key. Name Role/ability Character Appearance Odin Chief of the gods. _______ and _______. He only had one _______ , wore a big hat , a _______ cloak and had a _______ spear and two ravens on his _______ . Thor The god of _______ and Angry, _______, not as _______ as Very _______, had red hair and a _______ . Odin, very _______ and always big, red _______ . told the _______ . Loki Could change Very _______, played jokes or _______ and became a _______ on people or the other _______, or an insect or a _______ and liked to make _______ so he could _______ trouble for them. -
Eineygður Öldungur Rekur Ætt Sína
Hugvísindasvið Eineygður öldungur rekur ætt sína Óðinn og jötnarnir Ritgerð til B.A. prófs Harpa Sif Þórsdóttir Maí 2010 Háskóli Íslands Hugvísindasvið Íslenskuskor Eineygður öldungur rekur ætt sína Óðinn og jötnarnir Ritgerð til B.A. prófs Harpa Sif Þórsdóttir Kt. 121186-3229 Leiðbeinandi: Ármann Jakobsson Maí 2010 Ágrip Í þessari ritgerð mun æðsta guði norrænnar trúar, Óðni, verða gerð nokkuð góð skil. Hann verður þó ekki skoðaður sem guð ásatrúar, þar sem hann er einkum dýrkaður, heldur verður hann skoðaður sem persóna úr gömlum íslenskum textum. Má þar helst nefna texta eins og Eddukvæði, Snorra Eddu og Heimskringlu. Hann mun verða kynntur sem persóna og sagt verður frá hans helstu kostum og göllum. Komið verður til dæmis inn á hin ýmsu nöfn hans, andlega eiginleika (skáldskap, rúnir og galdur), og kvonfang hans og afkvæmi. Þar sem þekking manna um Óðin kemur mikið frá hinum ýmsu kvæðum, þá aðallega kannski Hávamálum og Völuspá, þá verða hin ýmsu kvæði notuð sem dæmi um þennan magnaða guð. Hann sem persóna er þó ekki aðalviðfangsefni þessarar ritgerðar, þó svo það spili stórt hlutverk. Út alla ritgerðina er leitast við að tengja Óðin og jötnana saman. En þeir eiga sér langa sögu og þrátt fyrir mikinn ríg og erfiðleika þá tengjast þeir mun meira en margur heldur. Þau tengsl finnast til dæmis í forfeðrum, fóstbræðraheitum, kvonfangi, börnum, sem og einhverjum verðmætum gripum. Helstu ritverk sem stuðst er við eru Eddukvæði, Snorra Edda, Heimskringla, sem og bæði íslenskar og erlendar fræðigreinar. Efnisyfirlit Inngangur ..................................................................................................................... -
Trees As a Central Theme in Norse Mythology and Culture an Archaeological Perspective
Trees as a Central Theme in Norse Mythology and Culture An Archaeological Perspective AMANDA GILMORE ABSTRACT: This article, the inaugural winner of the journal’s Gurli Aagaard Woods Undergraduate Publication Award, combines the analysis of ancient literature with an archaeological approach in an effort to further interpret the presence and significance of trees in medieval Scandinavian culture. The analysis of textual references to trees such as Yggdrasill and Barnstokkr found in the Norse works Völuspá, Grímnismál, Gylfaginning, and Völsunga Saga, are combined with academic articles, juxtaposed with the examination of archaeological sites at Fröso, Herresta, Bjarsgård, Österfärnebo, and Karmøy, and integrated with modern Scandinavian attitudes to explore an interest in tree-human relationships, literature, and archaeology in medieval Scandinavia. RÉSUMÉ : Cet article, premier lauréat du prix de la revue Gurli Aagaard Woods de publication pour étudiant de premier cycle, combine l’analyse d’une littérature ancienne avec une approche archéologique, dans un effort pour interpréter davantage la présence et l’importance des arbres dans la culture scandinave médiévale. Les analyses des références textuelles à des arbres tels que Yggdrasill et Barnstokkr trouvées dans les travaux Norse Völuspá, Grímnismál, Gylfaginning et la saga Völsunga, sont combinées à des articles académiques, juxtaposées à l’examen de sites archéologiques à Frösö, Herresta, Bjarsgård, Österfärnebo et Karmøy, et intégrées à des attitudes scandinaves modernes afin d’explorer un intérêt envers les relations arbre-humain, la littérature et l’archéologie en Scandinavie médiévale. Amanda Gilmore is an undergraduate student in the Department of Anthropology at the University of Manitoba. SCANDINAVIAN-CANADIAN STUDIES VOLUME 23 ÉTUDES SCANDINAVES AU CANADA 2016 Introduction he continual theme of trees in Norse Mythology is important to our understanding of the cosmology of Norse Mythology. -
A Saga of Odin, Frigg and Loki Pdf, Epub, Ebook
DARK GROWS THE SUN : A SAGA OF ODIN, FRIGG AND LOKI PDF, EPUB, EBOOK Matt Bishop | 322 pages | 03 May 2020 | Fensalir Publishing, LLC | 9780998678924 | English | none Dark Grows the Sun : A saga of Odin, Frigg and Loki PDF Book He is said to bring inspiration to poets and writers. A number of small images in silver or bronze, dating from the Viking age, have also been found in various parts of Scandinavia. They then mixed, preserved and fermented Kvasirs' blood with honey into a powerful magical mead that inspired poets, shamans and magicians. Royal Academy of Arts, London. Lerwick: Shetland Heritage Publications. She and Bor had three sons who became the Aesir Gods. Thor goes out, finds Hymir's best ox, and rips its head off. Born of nine maidens, all of whom were sisters, He is the handsome gold-toothed guardian of Bifrost, the rainbow bridge leading to Asgard, the home of the Gods, and thus the connection between body and soul. He came round to see her and entered her home without a weapon to show that he came in peace. They find themselves facing a massive castle in an open area. The reemerged fields grow without needing to be sown. Baldur was the most beautiful of the gods, and he was also gentle, fair, and wise. Sjofn is the goddess who inclines the heart to love. Freyja objects. Eventually the Gods became weary of war and began to talk of peace and hostages. There the surviving gods will meet, and the land will be fertile and green, and two humans will repopulate the world. -
Prose Edda Part 3: Pp
Prose Edda Part 3: pp. 70-89 XLIX. Then spake Gangleri: "Have any more matters of note befallen among the Æsir? A very great deed of valor did Thor achieve on that journey." Hárr made answer: "Now shall be told of those tidings which seemed of more consequence to the Æsir. The beginning of the {p. 71} story is this, that Baldr the Good dreamed great and perilous dreams touching his life. When he told these dreams to the Æsir, then they took counsel together: and this was their decision: to ask safety for Baldr from all kinds of dangers. And Frigg took oaths to this purport, that fire and water should spare Baldr, likewise iron and metal of all kinds, stones, earth, trees, sicknesses, beasts, birds, venom, serpents. And when that was done and made known, then it was a diversion of Baldr's and the Æsir, that he should stand up in the Thing,[legislative assembly] and all the others should some shoot at him, some hew at him, some beat him with stones; but whatsoever was done hurt him not at all, and that seemed to them all a very worshipful thing. "But when Loki Laufeyarson saw this, it pleased him ill that Baldr took no hurt. He went to Fensalir to Frigg, and made himself into the likeness of a woman. Then Frigg asked if that woman knew what the Æsir did at the Thing. She said that all were shooting at Baldr, and moreover, that he took no hurt. Then said Frigg: 'Neither weapons nor trees may hurt Baldr: I have taken oaths of them all.' Then the woman asked: 'Have all things taken oaths to spare Baldr?' and Frigg answered: 'There grows a tree-sprout alone westward of Valhall: it is called Mistletoe; I thought it too young to ask the oath of.' Then straightway the woman turned away; but Loki took Mistletoe and pulled it up and went to the Thing. -
GIANTS and GIANTESSES a Study in Norse Mythology and Belief by Lotte Motz - Hunter College, N.Y
GIANTS AND GIANTESSES A study in Norse mythology and belief by Lotte Motz - Hunter College, N.Y. The family of giants plays apart of great importance in North Germanic mythology, as this is presented in the 'Eddas'. The phy sical environment as weIl as the race of gods and men owe their existence ultimately to the giants, for the world was shaped from a giant's body and the gods, who in turn created men, had de scended from the mighty creatures. The energy and efforts of the ruling gods center on their battles with trolls and giants; yet even so the world will ultimately perish through the giants' kindling of a deadly blaze. In the narratives which are concerned with human heroes trolls and giants enter, shape, and direct, more than other superhuman forces, the life of the protagonist. The mountains, rivers, or valleys of Iceland and Scandinavia are often designated with a giant's name, and royal houses, famous heroes, as weIl as leading families among the Icelandic settlers trace their origin to a giant or a giantess. The significance of the race of giants further is affirmed by the recor ding and the presence of several hundred giant-names in the Ice landic texts. It is not surprising that students of Germanic mythology and religion have probed the nature of the superhuman family. Thus giants were considered to be the representatives of untamed na ture1, the forces of sterility and death, the destructive powers of 1. Wolfgang Golther, Handbuch der germanischen Mythologie, Leipzig 1895, quoted by R.Broderius, The Giant in Germanic Tradition, Diss. -
Gylfaginning Codex Regius, F
Snorri Sturluson Edda Prologue and Gylfaginning Codex Regius, f. 7v (reduced) (see pp. 26/34–28/1) Snorri Sturluson Edda Prologue and Gylfaginning Edited by ANTHONY FAULKES SECOND EDITION VIKING SOCIETY FOR NORTHERN RESEARCH UNIVERSITY COLLEGE LONDON 2005 © Anthony Faulkes 1982/2005 Second Edition 2005 First published by Oxford University Press in 1982 Reissued by Viking Society for Northern Research 1988, 2000 Reprinted 2011 ISBN 978 0 903521 64 2 Printed by Short Run Press Limited, Exeter Contents Codex Regius, fol. 7v ..........................................................Frontispiece Abbreviated references ....................................................................... vii Introduction ..........................................................................................xi Synopsis ..........................................................................................xi The author ..................................................................................... xii The title ....................................................................................... xvii The contents of Snorri’s Edda ................................................... xviii Models and sources ........................................................................ xx Manuscripts .............................................................................. xxviii Bibliography ...............................................................................xxxi Text ....................................................................................................... -
The Significant Other: a Literary History of Elves
1616796596 The Significant Other: a Literary History of Elves By Jenni Bergman Thesis submitted for the degree of Doctor of Philosophy Cardiff School of English, Communication and Philosophy Cardiff University 2011 UMI Number: U516593 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U516593 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted on candidature for any degree. Signed .(candidate) Date. STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. (candidate) Date. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed. (candidate) Date. 3/A W/ STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date. STATEMENT 4 - BAR ON ACCESS APPROVED I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan after expiry of a bar on accessapproved bv the Graduate Development Committee. -
A Newly Discovered Manuscript of Magnús Ólafsson’S Edda Private Collection, London
A newly discovered manuscript of Magnús Ólafsson’s Edda Private collection, London. This 8vo manuscript, purchased in Denmark a few years ago, was probably written in Iceland in the late 18th or early nineteenth century. It is written on paper, apparently by a single hand (with the minor exceptions noted below), in black ink, with some coloured (red and green or blue) decoration to the lettering of the title page. The binding is certainly more modern; it has marbled boards and a cloth spine without any lettering. The binder has cut the bottom of the leaves very close, in a few cases taking off part of the last line of writing (e.g. on page 142). The spine has become vey dry and brittle and the volume has suffered from much use. The name written on the front flyleaf in a different and probably much later hand than the text is difficult to decipher, but may read ‘Þórarinsson’. This un-Icelandic use of the patronymic alone, without the owner’s first name, suggests that this Þórarinsson, who is of course unidentifiable, had emigrated from Iceland to Denmark, perhaps in the second half of the 19th century, and had there used his patronymic as a surname in the Danish fashion. If so, this emigrant presumably brought the manuscript from Iceland to his new home with him. The title on the title page reads ‘Edda . med Vidbætir’, and this corresponds well with the contents of the volume, which is an interpolated and re-arranged version of Magnús Ólafsson’s Edda with an appendix containing material about Icelandic runes. -
4996478-6B71c2-635212045121.Pdf
I AM THE SONG q anyone lived in a pretty how town [5.34] CHORAL music BY BERNARD HUGHES Soloists: Helen Neeves (soprano) • Rebecca Lodge (mezzo-soprano), Robert Johnston (tenor) • Stephen Charlesworth (baritone), Edward Price (bass) w Revelation Window [5.27] Two Choral Fanfares A Medieval Bestiary e 1 Everyone sang [2.08] Prologue [3.58] r 2 I am the Song [1.10] The Beasts of the Land [1.25] t The Panther [4.20] Three Swans y First Sermon [0.51] 3 The Bereaved Swan [1.39] u The Beasts of the Water [1.23] 4 The Silver Swan [1.24] i The Whale [3.33] 5 Riddle [3.30] o Second Sermon [0.49] Soloists: Helen Neeves (soprano) • Emma Tring (soprano) p The Beasts of the Air [0.58] a The Phoenix [4.33] 6 The winter it is past [4.02] s Third Sermon [2.38] The Death of Balder Soloists: Olivia Robinson (soprano) • Elizabeth Poole (soprano) Margaret Cameron (mezzo-soprano) • Stephen Jeffes (tenor) 7 Prologue [0.32] Simon Grant (bass) • Edward Price (bass) 8 Act One [11.55] 9 Interlude [3.08] Total timings: [75.15] 0 Act Two [10.18] Soloists: Elizabeth Poole (soprano, Frigg) • Olivia Robinson (soprano, Thokk) Rebecca Lodge (mezzo-soprano, Hel) • Cherith Milburn-Fryer (alto, Old Woman) Edward Goater (tenor, Balder) • Stephen Jeffes (tenor, Hermod) BBC SINGERS Robert Johnston (tenor, Hod) • Charles Gibbs (bass, Narrator) PAUL BROUGH CONDUCTOR Edward Price (bass, Loki) www.signumrecords.com COMPOSER’S NOTE beats grouped mostly in sevens and fives, The oldest of the poems in the set, although the ancient tales were intended to preserve and, in contrast to the first fanfare, builds presented in a modern adaptation, is a Riddle pre-Christian forms of Scandinavian story-telling.