DOCSLIB.ORG

Table of Contents Introduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Table Of Contents Introduction . 3 Einherjar . 27 Fafnir . 4 Fenrir . 6 Fylgja . 22 Fossegrim . 8 Jormungandr . 10 Garmr . 12 Gullinbursti . 13 Hafgufa . 14 Hamingja . 22 Ragnarok by Louis Moe, 1898 Hamr . 21 Hugr . 22 Hymir . 16 Jotunn . 17 Landvaettir . 18 Lyngbakr . 15 Nacken . 8 Nidhogg . 20 Ratatoskr . 19 Selkolla . 23 Surtr . 24 Valkyrie . 26 Sample file Introduction ello there! Welcome to this little experiment Another thing to note is that there are Three Mythic of mine where I see if I can take some of the Monsters in this book, those being three of the biggest most terrifying and awe-inspiring monsters baddest boys in the world of Norse Mythology: Fenrir, from real world mythology and turn them into Jormungandr, and Surtr. Using the Mythic Encounter rules fearsome creatures for DMs to throw at their introduced in The Mythic Odyssey to Theros book, I decide to poor, helpfless, unsuspecting players. As a really make these guys stat blocks worthy of their Hlover of both mythology and Dungeons & mythological legends, and thus that's why they are the only Dragons, I always love it when the two intersect. Wizards of three with Mythic traits. You can, of course, also choose to the Coast have already added many iconic mythological run them without their mythic traits if you want them to be a creatures, and allow for use of gods from various real world little bit easier of a fight, because that's the beauty of a Mythic pantheons, but even so, there are some monsters they're trait. missing that are just too awesome to not have in the greatest roleplaying game of all time! CAUTION: Not playtested I feel that it is important for me to warn all who think about How to use this book using these monsters that most of these monsters have never Well to be honest, you can use this in any way that you want! actually been used in a combat setting. What this means for You paid for it, so use it as you see fit! If you're looking for you is that you should not rely purely on whatever CR this the some direction, then I guess I can help out with that. A lot of stat block says, because in all honesty they are just educated these monsters that I'm taking are huge and powerful guesses (which, I mean, aren't all CR labels kind of guesses creatures that took either a hero of legend or an actual god anyways?) A monster that I think could squash a group of themself to defeat. These creatures are great for final bosses, level 20 PCs could end up being squashed, and a monster doomsday devices, or for when you just really want to shock that I think is a pushover could very easily end up pushing all your players with something they can't find in the official your players to the grave. I've made up a lot of abilities and books. actions, and some of them may be too powerful, and some Because of these monster's connections with mythology, maybe not powerful enough. The bottom line is I don't know, looking at these creatures is a great way to come up with so as long as you're wary of that, then everything should inspiration for campaign building. Don't know how to add probably be fine. Probably. Fenrir into your campaign? Then why not take some inspiration from the ancients themselves! Use Fenrir's story Thanks Homebrewery! to help shape your campaign or quest and then let the players I know a shout out is not exactly what you want to see at this have an epic battle at the end with his own mythological part, but I feel it's important to shout out The Homebrewery, inspired abilities! There are endless resources for myths out as without their website, this book would not look nearly as there, so don't be afraid to do some digging to help good. So thanks! You guys rock! incorporate these baddies into your world. Why did you choose the monsters Thank you! While I'm at it, I just want to say thank you for purchasing that you did? this little project of mine! It means the world to me that you An excellent question, to which the answer is somewhat would spend your hard earned money on a little guy like me, simple. I chose the monsters that for one didn't already exist and I hope you enjoy reading through and learning about officially in the game, and that also I felt could make for some these Massive Mythological Monstrosities! fun and challenging monsters. There are of course more monsters that exist throughout the world of Norse Mythology that were not included in this resource, and there's a few ALL RIGHT, ENOUGH reasons for that. For one thing, some monsters are only mentioned by name and barely talked about again. Others DILLY DALLYING, LET'S just really don't have much potential for DnD, like a giant boar that gets slaughtered every day to feed the warriors of GET ON TO WHAT YOU Valhalla. While that idea is fun and I did toy with making some kind of joke stat block out of that, ultimately I just felt CAME HERE FOR, THE that enSampleergy would be better suited put somewhere else. MONSTERS . file 3 The World of Norse Mythology he world of Norse Mythology is a fascinating The other group are the Aesir, who are the main collection world where the idea of the end of the world of the most principal gods. This group is often considered to permeates through a lot of it, otherwise known be more war like but are also just generally considered the as Ragnarok. On this page, I'll give you a little most important and common gods. These gods live in Asgard bit of background information on the Mythos and are the god that we are most familiar with in modern of Norse mythology to help you understand media. The Aesir contains gods like Odin, Thor, Loki, Tyr, Tsome of the stories better. A LARGE amount of Ullr, and so forth. what we know about Norse mythology is thanks to an At the beginning of time the Vanir and Aesir had a war that Iclandic scholar known as Snorri Sturluson who wrote, or at brought about the combination of the Vanir and Aesir into the very least compiled, today's largest source for modern one force. The Aesir-Vanir war is somewhat mysterious as it's knowledge of Norse Mythology, the Prose Edda. not quite sure why it started except that a god named The Prose Edda was written around 1220 and contains Gullveig was pierced by lances multiple times in Odin's hall, story after story about the gods, Ragnarok, and so much and although they could not kill him, they burned him three more. Look up any story we know from Norse Mythology and times and he came back each time. This murder apparently more than likely the Prose Edda will come up in some way. In triggered the first ever war, and eventually the Aesir would fact, most of the sources I used cited Sturluson, so he is a claim victory over the Vanir. large part of why I was able to make this book, so cheers to him. Cosmology In the universe of Norse Mythology, there are Nine A world Doomed Worlds/Realms that are all connected by the great ash tree Ragnarok refers to the events that will bring about the end of Yggdrasil. These worlds each act as a home for different the world, and where a bunch of the Norse gods are destined races, and it is possible to travel to these different worlds to die. This is why a lot of stories involve these gods trying to through various means. There are even some creatures who prolong these events from happening, but inevitably it will live on Yggdrasil itself. The Nine worlds are as follows: happen. Asgard - Realm of the Aesir and the city where the gods The Story of Ragnarok is actually not only well rule in their court. documented, but very specific. Across various stories we Vanaheimr - literally translates to "Vanir-Home" where the know which gods are killed by who and how, what begins Vanir come from. Ragnarok, what ends it, and which gods survive and usher in Afheimr - Home of the Elves. what is known as the new age. This specificity given to us Midgard - The home of the Humans, carved from the body creates a very vivid image of the monsters involved and their of the primordial being Ymir and connected to Asgard by a extreme power. While not gods, these monsters rival the gods rainbow bridge known as the Bifrost. themselves and are able to kill them, a concept that might Jotunheimr - The home of Jotnar, the giants and separated confuse some people who are only familiar with mythos like from Midgard by a series of rivers. Also somewhat strangely the Greek and Roman mythos. referred to a lot as being "north." However, much like the gods of Greece, the Norse gods do Hel - The world of the dead. not always get along. In fact, at the very beginning of time, the Svartalfaheimr - The world of dwarves. two groups of gods, the Vanir and the Aesir, fought a war Muspell - The world of fire and the home of Surtr, the fiery which the Aesir won and made the Vanir subordinate to jotunn who will drown the world in fire.
Recommended publications
  • Ragnarocks You Take on the Role of a Viking Clan Using Runestones to Mark Your Clan’S Claims of Land

    Ragnarocks You Take on the Role of a Viking Clan Using Runestones to Mark Your Clan’S Claims of Land

    1 1 IN NORSE MYTHOLOGY, HUMANS EXIST IN THE LAND OF MIDGARD - A PLACE IN THE CENTER OF THE WORLD TREE AND CONNECTED TO THE NINE REALMS. AMONG THESE NINE REALMS LIVE GODS AND GODDESSES, SERPENTS AND SPIRITS, AND ALL MANNER OF MYTHICAL AND MYSTICAL CREATURES. In Ragnarocks you take on the role of a Viking clan using Runestones to mark your clan’s claims of land. In the advanced game, your clan worships one of these powerful beings from another realm who lends you their power to help you outwit rivals and claim territories for your clan. At the end of the game, the clan who controls the most territory in Midgard wins! Contents Heimdallr Odin Guardian of Asgard Sól Ruler of the Aesir Goddess of the Sun Art Coming Soon Art Coming Soon Art Coming Soon SETUP: Draw two additional Mythology Powers with [Odin icon] andCommand hold them. cards. These are your START OF YOUR TURN: AT THE END OF YOUR TURN: You may relocate one of your vikings Settled You may either play a Command card this turn to any unoccupied space that was from your hand, or pick up all your played BEFORE YOUR MOVE: not Settled at the beginning of this turn. You may Move one space with Command cards. If you play a Command your Selected Viking card, you gain(ignore that setuppower powers). until your next turn 32 Mythology Cards 40 Runestones 6 Viking Pawns 1 Tree Stand 1 Game Insert Board 2 3 basic game setup 1 Remove game pieces from the insert and set them where all players can reach them.
  • Odins Wanderzug Nach Schweden. Altisländische Gelehrte

    Odins Wanderzug Nach Schweden. Altisländische Gelehrte

    Heinz Klingenberg Odins Wanderzug nach Schweden Altisländische Gelehrte Urgeschichte und mittelalterliche Geographie (24) Snorri und das geographische Gesetz der Weltgeschichte — (25) Mittelalterliche Erdbeschreibung in Snorra Edda und Heimskringla — (26) Codex Cotton Tiberius B V — (27) Heimat Odins nach Snorra Edda und Heimskringla — (28) Asen “Asienleute” und Wanen “Leute vom Don” — (29) Odins Wanderzug nach Reiðgotaland (Jütland) — (30) Odin und Gylfi 24. Snorri und das geographische Gesetz der Weltgeschichte ier Weltreiche — ein letztes, viertes hart wie Eisen, zugleich auch tönern — kündete die Prophezeihung Daniels (Dan. 2.31–45). Mittel- alterliche Interpretation der Daniel-Vision führte zur Lehre vom gesetz- mäßigen Gang der Weltherrschaft von Ost nach West, von den Assyrern Vund Babyloniern zu den Medern und Persern, dann zu den Makedoniern und schließlich zu den Römern. Vom geographischen Gesetz der Ost-West–Richtung (dem Lauf der Sonne vergleichbar) sprechen prominente Geschichtsphilosophen und Weltgeschichten des Mittelalters. Mehrfach (nachdrücklich) beruft sich Otto von Freising auf die Prophezeihung Daniels, und sein Translationsbegriff — ver- bunden mit einem Endzeitbewußtsein — ist ein nie abgebrochenes Imperium, das ein Ende der Zeit zeitigen wird mit dem altersschwach werdenden Römischen Reich, zuletzt repräsentiert durch staufische Kaiser in der Zeit Ottos. Chronica, Prologus libri quinti: “Wie ich schon oben gesagt habe, hat alle menschliche Macht und Weisheit im Orient ihren Anfang genommen, und im Okzident erle- ben wir nun den Anfang ihres Endes” (Lammers 1960, 373). Zum geographischen Ost-West–Gesetz im Werk Ottos siehe Lammers 1960, xxvii, lv–lvi, 14–15 (Chronica, Prologus libri primi), 566–67 (Chronica 7.35). Von einer auf Gottes Heilsplan verweisenden Ost-West–Bewegung spricht schon Augustin, De civitate Dei 18.2: ein Reich der Assyrer in Asien mit Babylon (einem alvíssmál 3 (1994): 19–42 20 Heinz Klingenberg ersten Rom), dann das Reich der Römer im Abendland — vergleiche Orosius 2.3 (Zangemeister 1882, 86–87).
  • This Answer Isn't Killing, but the Gaullic Figure Brut Visited the Island Of

    This Answer Isn't Killing, but the Gaullic Figure Brut Visited the Island Of

    Round 01: This answer isn’t killing, but the Gaullic figure Brut visited the Island of Leogrecia after performing this action on a white hart. One god who did this to himself was the god of the following domains: sunsets, rebirths, jewelry, and flowers. That god did this to himself so corn could be grown. One animal that had this done to it was tossed into a weaving chamber. Another figure to suffer this fate is unable to turn his instrument upside down and was judged by the Muses against Apollo. For 10 points, name this act inflicted upon Marsyas, the process of removing the epidermis from a person. ANSWER: flaying [accept word forms, accept removal of skin or equivalents, such as skinning] Round 02: At his death, he was put into a mound with three doors, through which peasants offered gold, silver and copper. No one speaks to this figure, nor does he eat or sleep because he did the following action: while overlooking all the worlds, he looked north and saw a beautiful lady that lifts her arms up to irradiate the sky and the sea with a sensuous light. This figure’s father-in-law is married to Aurboda, and is named Gymir. Because he entrusted his sword and his horse to his servant Skirnir, he defeated the giant Beli using only an antler. He will be killed by the fire giant Surt. The owner of the folding ship Skidbladnir and the boar Gullinbursti, for 10 points, name this son of Skadi and Njord, a fertility god.
  • September 2017 N°17

    September 2017 N°17

    ISSN 2499-1341 EXPRESSION quarterly e-journal of atelier in cooperation with uispp-cisenp. international scientific commission on the intellectual and spiritual expressions of non-literate peoples N°17 September 2017 CULT SITES AND ART Anthropomorphic face on the entrance slab of a circular ceremonial structure from Har Karkom, Negev desert, Israel (Pre-pottery Neolithic site BK 608). EDITORIAL NOTES accompany them. What echoes accompanied CULT SITES the paintings in the prehistoric caves? What performances, if any, were taking place in front AND ART of the decorated rock surfaces? The visual art stresses myths, mythical beings Walking along a narrow trail, on the edge of and/or historical facts, which are related to the a steep valley in the middle of a deep forest, cult and to the sanctity of the site. It is the visual we suddenly heard noises of human presen- memory that justifes the function of the site. ce, voices that were neither speeches nor son- Was it the same in prehistoric times? In front of gs, something in between. We reached a cave where a number of people were assembled in rock art sites, in the Camonica Valley, Italy, or a corner and an old bearded man was standing in Kakadu in Arnhem Land, Australia, or in the on an upper step of the rock talking ... perhaps Drakensberg caves, South Africa, or in the Al- talking, perhaps declaiming, perhaps singing, tamira cave, Spain, the presence of prehistoric but not to the people below. He was talking or art awakens a sense of sacredness, we feel that performing or praying in front of a white rock these were and are special places but ..
  • In Merovingian and Viking Scandinavia

    In Merovingian and Viking Scandinavia

    Halls, Gods, and Giants: The Enigma of Gullveig in Óðinn’s Hall Tommy Kuusela Stockholm University Introduction The purpose of this article is to discuss and interpret the enig- matic figure of Gullveig. I will also present a new analysis of the first war in the world according to how it is described in Old Norse mythic traditions, or more specifically, how it is referred to in Vǫluspá. This examination fits into the general approach of my doctoral dissertation, where I try to look at interactions between gods and giants from the perspective of a hall environment, with special attention to descriptions in the eddic poems.1 The first hall encounter, depending on how one looks at the sources, is described as taking place in a primordial instant of sacred time, and occurs in Óðinn’s hall, where the gods spears and burns a female figure by the name of Gullveig. She is usually interpreted as Freyja and the act is generally considered to initiate a battle between two groups of gods – the Æsir and the Vanir. I do not agree with this interpretation, and will in the following argue that Gullveig should be understood as a giantess, and that the cruelty inflicted upon her leads to warfare between the gods (an alliance of Æsir and Vanir) and the giants (those who oppose the gods’ world order). The source that speaks most clearly about this early cosmic age and provides the best description is Vǫluspá, a poem that is generally considered to have been composed around 900– 1000 AD.2 How to cite this book chapter: Kuusela, T.
  • Old Germanic Heritage in Metal Music

    Old Germanic Heritage in Metal Music

    Lorin Renodeyn Historical Linguistics and Literature Studies Old Germanic Heritage In Metal Music A Comparative Study Of Present-day Metal Lyrics And Their Old Germanic Sources Promotor: Prof. Dr. Luc de Grauwe Vakgroep Duitse Taalkunde Preface In recent years, heathen past of Europe has been experiencing a small renaissance. Especially the Old Norse / Old Germanic neo-heathen (Ásatrú) movement has gained popularity in some circles and has even been officially accepted as a religion in Iceland and Norway among others1. In the world of music, this renaissance has led to the development of several sub-genres of metal music, the so-called ‘folk metal’, ‘Viking Metal’ and ‘Pagan Metal’ genres. Acknowledgements First and foremost I would like to thank my promoter, prof. dr. Luc de Grauwe, for allowing me to choose the subject for this dissertation and for his guidance in the researching process. Secondly I would like to thank Sofie Vanherpen for volunteering to help me with practical advice on the writing process, proof reading parts of this dissertation, and finding much needed academic sources. Furthermore, my gratitude goes out to Athelstan from Forefather and Sebas from Heidevolk for their co- operation in clarifying the subjects of songs and providing information on the sources used in the song writing of their respective bands. I also want to thank Cris of Svartsot for providing lyrics, translations, track commentaries and information on how Svartsot’s lyrics are written. Last but not least I want to offer my thanks to my family and friends who have pointed out interesting facts and supported me in more than one way during the writing of this dissertation.
  • Odin Loki Thor Frigg

    Odin Loki Thor Frigg

    Odin Thor Odin is the chief god in Norse Thor is the god of thunder, storms, mythology and part of the Æsir strength and fertility. He is part of pantheon. He is the king of Asgard. the Æsir pantheon. He is the son of Odin and married to the goddess Sif. Odin is the god of wisdom, poetry, death and magic. Thor wields a magical hammer called Mjolnir which is so powerful Also known as the All-Father, it is it can destroy mountains. He is able believed that he gave up one of his to summon thunder and lightning eyes in order to gain understanding using his hammer in battle against of the universe. He is also often his enemies. Vikings believed that a accompanied by two ravens who help thunderstorm was a sign that Thor him see everything. was angry. He rides into battle upon an eight- Thor also has incredible strength legged horse called Sleipnir and and is a mighty warrior. There are wields the mighty spear Gungnir, many tales of his battles, including with which he never misses his target. with the giant serpent Jörmungandr He is married to the goddess Frigg during Ragnarök – the final battle and is the father of many gods, of the gods. including Thor and Baldr. twinkl.com twinkl.com Loki Frigg Loki is the god of mischief and chaos. Frigg, or Frigga, is the goddess of He is known for playing tricks on motherhood and the sky, the wife of the other gods. He is part of the Æsir Odin and mother of Baldr and Hodr.
  • Gylfaginning Codex Regius, F

    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 .......................................................................................................
  • Arcane Wisdom Was Compiled by Craig Brain Using Material Freely Available from the Internet

    Arcane Wisdom Was Compiled by Craig Brain Using Material Freely Available from the Internet

    Index: 89. The College of Lesser Summonings 1. 90. The College of Rune Magics 8. 91. The College of Shaping Magics 19. 92. Magical Research and Spell Construction 30. 93. Guide to Magical Rocks, Stones and Gems 37. 94. Guide to Herbal Lore 44. 95. Magical Items 50. 96. Master List of Magical Talents, 57. Spells, and Rituals 97. Magic System Designer's Notes 65. DragonQuest Product Listing 68. Credits: Cover Artwork - Tom Kidd Interior Artwork - Timothy Truman and Paul Jacquays Original Material - Gerry Klug, Edward J. Woods and David J. Ritchie Editing and Section 96- Craig Brain Advice - Gerry Klug Errata - John Corey Special Thanks to: Rodger Thorm and the members of the DragonQuest Players Association and the members of the WebRPG Townhall community for all of their enthusiasm help and support. The DragonQuest Product Listing is the result of work of many people and is constantly being revised and updated when required. Note: This edition of Arcane Wisdom was compiled by Craig Brain using material freely available from the Internet. Original contributors have been credited where possible. Any omissions are accidental and can be easily rectified. This book is not for sale or profit and meets the distribution requirements stipulated by TSR Hobbies Inc. The Trademarks DragonQuest and Arcane Wisdom are owned by TSR Hobbies Inc. TSR Hobbies is owned by Wizards of the Coast, which, in turn is owned by Hasbro. This edition released on the 19th of April 2002. Please send all errata to [email protected] ARCANE WISDOM, PAGE 1 them into the presence of the Adept.
  • The God-Semantic Field in Old Norse Prose and Poetry

    The God-Semantic Field in Old Norse Prose and Poetry

    The God-semantic Field in Old Norse Prose and Poetry A Cognitive Philological Analysis Petra Mikolić Masteroppgave ved Instittut for lingvistiske og nordiske studier Det humanistiske fakultetet Universitetet i Oslo Oslo, Norway 29.05.2013 II The God-semantic Field in Old Norse Prose and Poetry: A Cognitive Philological Analysis III © Petra Mikolić 2013 The God-semantic Field in Old Norse Prose and Poetry: A Cognitive Philological Analysis Petra Mikolić http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Abstract The thesis under the title ―The God-semantic Field: A Cognitive Philological Analysis‖ analyses eight different lexemes that belong to the same semantic field – god. The research is a comparative and contrastive analysis of the lexemes within Old Norse prose and poetry according to their use and funcion withing texts with Christian and non-Christian topic.The aim was to use a different approach in the analysis of the words in question in order to give a better structured semantic field according to the use of the words. V Table of Contents 1. Introduction……………………………………………………………….…………..……1 1.1. Aim of the thesis…………………………………………………………………1 1.2. Method…………………………………………………………….……………..2 1.3. Theory of the semantic fields…………………………………………………….2 1.4. Primary and secondary sources………………………………………………......3 1.5. Problems encountered in the research……………………………………………4 1.6. Division of the analysis………………………………………….……………….5 2. History in the Middle Ages – The treatment of the Old Norse traditions and beliefs in the texts……………………………………………………………………………….……..……6 3. Dating the primary sources………………………………………………………….……..11 4. Analysis of the semantic field: the lexemes in the dyēus-semantic field……………….....17 4.1. The lexeme týr……………………………………………………………….......17 4.2.
  • The Goddess: Myths of the Great Mother Christopher R

    The Goddess: Myths of the Great Mother Christopher R

    Gettysburg College Faculty Books 2-2016 The Goddess: Myths of the Great Mother Christopher R. Fee Gettysburg College David Leeming University of Connecticut Follow this and additional works at: https://cupola.gettysburg.edu/books Part of the English Language and Literature Commons, Folklore Commons, and the Religion Commons Share feedback about the accessibility of this item. Fee, Christopher R., and David Leeming. The Goddess: Myths of the Great Mother. London, England: Reaktion Press, 2016. This is the publisher's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/books/95 This open access book is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. The Goddess: Myths of the Great Mother Description The Goddess is all around us: Her face is reflected in the burgeoning new growth of every ensuing spring; her power is evident in the miracle of conception and childbirth and in the newborn’s cry as it searches for the nurturing breast; we glimpse her in the alluring beauty of youth, in the incredible power of sexual attraction, in the affection of family gatherings, and in the gentle caring of loved ones as they leave the mortal world. The Goddess is with us in the everyday miracles of life, growth, and death which always have surrounded us and always will, and this ubiquity speaks to the enduring presence and changing masks of the universal power people have always recognized in their lives.
  • Viking Art, Snorri Sturluson and Some Recent Metal Detector Finds. Fornvännen 113

    Viking Art, Snorri Sturluson and Some Recent Metal Detector Finds. Fornvännen 113

    •• JOURNAL OF SWEDISH ANTIQUARIAN RESEARCH 2018:1 Art. Pentz 17-33_Layout 1 2018-02-16 14:37 Sida 17 Viking art, Snorri Sturluson and some recent metal detector finds By Peter Pentz Pentz, P., 2018. Viking art, Snorri Sturluson and some recent metal detector finds. Fornvännen 113. Stockholm. This paper seeks to contribute to a recent debate on the use of private metal detect- ing and its value within archaeology. Specifically it explores – by presenting some recently found Viking Period artefacts from Denmark – how private metal detect- ing can contribute to our understanding of Viking minds. By bringing together the myths as related by Snorri Sturluson in the early 13th century with the artefacts, I argue that thanks to private metal detecting through the last decades, our ability to recognise Viking art as narrative art has improved substantially. Peter Pentz, National Museum of Denmark, Ny Vestergade 10, DK–1471 København K [email protected] Over 60 years ago, Thorkild Ramskou (1953) the main problems in understanding Viking art described Viking art as almost exclusively deco- is the scarcity of reference materials. We largely rative, only functioning as a covering for plain know Norse mythology and its narratives through surfaces. In the rare cases where it was represen- Medieval Christian authors, in particular Snorri. tative, quality was poor. Viking artists, he stated, Hence, the myths have come down to us biased, preferred to portray scenes from myths of the reinterpreted and even now and then propagan- gods and heroic legends. Such scenes functioned dised. Furthermore, what survived is only a selec- as mnemonics; for the viewer they would recall tion.