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The Battle of Hastings
The Battle of Hastings The Battle of Hastings is one of the most famous battles in English history. What Caused the Battle? In 1066, three men were fighting to be King of England: William of Normandy, Harold Godwinson and Harald Hardrada. Harold Godwinson was crowned king on 6th January 1066. William and Harald were not happy. They both prepared to invade England in order to kill King Harold and become king themselves. Harald Hardrada attacked from the north of England on 25th September. However, he was killed in battle and his army was defeated by King Harold’s army. King Harold was then told that William of Normandy had landed in the south and was attacking the surrounding countryside. King Harold was furious and marched his tired troops 300 kilometres to meet them. Eight days later, Harold and his men reached London. William sent a messenger to London. The message tried to get Harold to accept William as the true King of England. Harold refused and was angered by William’s request. Harold was advised to wait before attacking William and his army. His troops were very tired and they needed time to prepare for the battle. However, Harold ignored this advice and on 13th October, his troops arrived in Hastings ready to fight. They captured a hill (now known as Battle Hill) and set up a fortress surrounded with sharp stakes stuck in a deep ditch. Harold ordered his forces to stay in their positions no matter what happened. The Battle of Hastings On 14th October, the battle began. -
Number Symbolism in Old Norse Literature
Háskóli Íslands Hugvísindasvið Medieval Icelandic Studies Number Symbolism in Old Norse Literature A Brief Study Ritgerð til MA-prófs í íslenskum miðaldafræðum Li Tang Kt.: 270988-5049 Leiðbeinandi: Torfi H. Tulinius September 2015 Acknowledgements I would like to thank firstly my supervisor, Torfi H. Tulinius for his confidence and counsels which have greatly encouraged my writing of this paper. Because of this confidence, I have been able to explore a domain almost unstudied which attracts me the most. Thanks to his counsels (such as his advice on the “Blóð-Egill” Episode in Knýtlinga saga and the reading of important references), my work has been able to find its way through the different numbers. My thanks also go to Haraldur Bernharðsson whose courses on Old Icelandic have been helpful to the translations in this paper and have become an unforgettable memory for me. I‟m indebted to Moritz as well for our interesting discussion about the translation of some paragraphs, and to Capucine and Luis for their meticulous reading. Any fault, however, is my own. Abstract It is generally agreed that some numbers such as three and nine which appear frequently in the two Eddas hold special significances in Norse mythology. Furthermore, numbers appearing in sagas not only denote factual quantity, but also stand for specific symbolic meanings. This tradition of number symbolism could be traced to Pythagorean thought and to St. Augustine‟s writings. But the result in Old Norse literature is its own system influenced both by Nordic beliefs and Christianity. This double influence complicates the intertextuality in the light of which the symbolic meanings of numbers should be interpreted. -
Norse Myth and Identity in Swedish Viking Metal: Imagining Heritage and a Leisure Community
Sociology and Anthropology 4(2): 82-91, 2016 http://www.hrpub.org DOI: 10.13189/sa.2016.040205 Norse Myth and Identity in Swedish Viking Metal: Imagining Heritage and a Leisure Community Irina-Maria Manea Faculty of History, University of Bucharest, Romania Copyright©2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract This paper will be exploring how a specific the cultural codes were preserved: Black metal artists rejoice category of popular music known as Viking Metal in war imagery, fantastic stories and landscapes and above thematically reconstructs heritage and what meanings we can all anti-Christian. The Norwegian scene at the beginning of decode from images generally dealing with an idealized past the ’90 (e.g. Mayhem Burzum, Darkthrone) had a major more than often symbolically equated with Norse myth and impact on defining the genre and setting its aesthetics, antiquity. On the whole we are investigating how song texts however, Sweden’s Bathory played no lesser role, both and furthermore visual elements contribute to the formation through the tone and atmosphere sustained musically by lo-fi of a cultural identity and memory which not only expresses production and lyrically by flirtating with darkness and evil. attachment for a particular time and space, but also serves as More importantly, Bathory marked the shift towards Nordic a leisure experience with the cultural proposal of an alternate mythology and heathen legacy in his Asatru trilogy (Blood selfhood residing in the reproduction of a mystical heroic Fire Death 1988, Hammerheart 1990, Twilight of the Gods populace. -
Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia Michael David Lawson East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2019 Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia Michael David Lawson East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Comparative Literature Commons, Cultural History Commons, Disability Studies Commons, European History Commons, European Languages and Societies Commons, Folklore Commons, History of Religion Commons, History of Science, Technology, and Medicine Commons, Medieval History Commons, Medieval Studies Commons, Scandinavian Studies Commons, and the Social and Cultural Anthropology Commons Recommended Citation Lawson, Michael David, "Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia" (2019). Electronic Theses and Dissertations. Paper 3538. https://dc.etsu.edu/etd/3538 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia ————— A thesis presented to the faculty of the Department of History East Tennessee State University ————— In partial fulfillment of the requirements for the degree -
Viking Hersir Free
FREE VIKING HERSIR PDF Mark Harrison,Gerry Embleton | 64 pages | 01 Nov 1993 | Bloomsbury Publishing PLC | 9781855323186 | English | Oxford, England, United Kingdom hersir - Wiktionary Goodreads helps Viking Hersir keep track of books you Viking Hersir to Viking Hersir. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. When Norwegian Vikings first raided the European coast in the 8th century AD, their leaders were from the middle ranks of warriors known as hersirs. At this time the hersir was typically an independent landowner or local chieftain with equipment superior to that of his followers. By the end of the Viking Hersir century, the independence of the hersir was gone, and he was Viking Hersir a regi When Norwegian Vikings first raided the European coast in the 8th century AD, their leaders were from the middle ranks of warriors known as hersirs. By the end of the 10th century, the independence of the hersir was gone, and he was now a regional servant of the Norwegian king. This book investigates these brutal, mobile warriors, and examines their tactics and psychology in war, dispelling the idea of the Viking raider as simply a killing machine. Get A Copy. Paperback64 pages. More Details Original Title. Osprey Viking Hersir 3. Other Editions 1. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers Viking Hersir about Viking Hersir — AD Viking Hersir, please sign up. -
The Family Life of the Dwarfs and Its Significance for Relationships Between Dwarfs and Humans in the Sagas
MOM 2014-2 ombrukket2_Layout 1 02.12.14 16.11 Side 155 The Family life of the Dwarfs and its Significance for Relationships between Dwarfs and Humans in the Sagas By Ugnius Mikučionis This paper discusses the relationships between dwarfs and humans in the sagas, focusing on Egils saga einhenda ok Ásmundar berserkjabana, Þorsteins þáttr bæjarmagns and Þorsteins saga Víkingssonar. it is argued that dwarfs’ fam- ily life is important to the relationships between dwarfs and humans and that human heroes are able to manipulate dwarfs by playing on their emo- tions, namely their love for their birth children and foster-children (emo- tional or psychological manipulation); however the human hero may also create a ‘gift contract’ with the dwarf by giving a present or doing a service to the dwarf’s child (moral manipulation). presents are given to the dwarf’s child rather than directly to the adult dwarf because the human hero cannot risk having his present rejected. The two types of manipulation are not mu- tually exclusive; one can often talk of psychological and a moral aspect of an action. The source texts show that the emotional life of the dwarfs is much richer, and the relationships between dwarfs and humans are far more complex, than many previous scholars have recognised.1 This article discusses the family life of dwarfs and its significance for the relationships between dwarfs and humans in old norse sagas, focusing on three sagas: Egils saga einhenda ok Ásmundar berserkjabana, Þorsteins þáttr bæjarmagns and Þorsteins saga Víkingssonar. The focus of the discus- sion is on analysis of the sagas as literary texts, particularly on aspects of the emotional life of individual dwarfs and how this affects their rela- tionship with humans, rather than on the role the dwarfs play in old 1. -
Saxon Shield Wall Home Learners Pack
Suitable for ages 7-11 KS2 History KS2 English KS2 Art & Design Saxon Shield Wall The Saxons lived in Britain from around 450AD to 1066 when they were over taken by the Normans. The Saxons were fierce warriors and fought in many ferocious battles, against both Vikings and Normans. Their warriors had lots of weapons, such as axes, swords, spears and knives. But they also had protection in the form of helmets, armour and shields. They were in fact famous for using their shields very well, by creating a shield wall. Read on to learn more about Saxon battle tactics. Additional resources Watch a video all about Saxon shield walls on our YouTube channel. Saxon Shield Wall / © Royal Armouries / April 2020 / 1/4 Fascinating Facts How do you make a shield wall? A shield wall is a military tactic. Soldiers line up, shoulder to shoulder and hold their shields in front of them. They stand so close together that their shields overlap. This means that they are protected by their own shield, and by the shields held by the soldiers on either side of them. Image courtesy of Bayeux Museum Types of shield Can you see? The Saxons used 2 different If you look closely at the image you can styles of shield. see that part of the shield wall is The most common type was round. together but there are also a few gaps. They were called ‘trelborg’ shields. What do you think the enemy might do The other type was kite-shaped like the if they saw a gap in the shield wall? ones in the image. -
The Saga of King Hrolf Kraki Free
FREE THE SAGA OF KING HROLF KRAKI PDF Jesse L. Byock | 144 pages | 03 Jun 2015 | Penguin Books Ltd | 9780140435931 | English | London, United Kingdom Hrólfr Kraki - Wikipedia The consensus view is that Anglo-Saxon and Scandinavian traditions describe the same people. Proponents of this theory, like J. Tolkien[11] argue that both the names Beowulf lit. Bodvar Bjarki is constantly associated with bears, his father actually being one. This match supports the hypothesis that the adventure with the dragon is also originally derived from the same story. When Haldan died of old age, Helghe and Ro divided the kingdom so that Ro ruled the land, and Helghe the sea. This resulted in a daughter named Yrse. Much later, he met Yrse, and without knowing that she was his daughter, he made her pregnant with Rolf. Eventually, Helghe found out that Yrse was his own daughter and, out of shame, went east and killed himself. Both Helghe and Ro being dead, a Swedish king, called Hakon in the Chronicon Lethrense proper, and Athisl in the Annales — corresponding to Eadgils — forced the Danes to accept a dog as king. The dog king was succeeded by Rolf Krage. Rolf Krage was a big The Saga of King Hrolf Kraki in body and soul and was so generous that no one asked him for anything twice. This Hartwar arrived in Zealand with a large army and said that he wanted to give his tribute to Rolf, but killed Rolf together with all his men. Only one survived, Wiggwho played along until he was to do homage to Hartwar. -
The Arms and Armour of 1066
Suitable for ages 11-16 KS3 & KS4 History KS3 & KS4 English The Arms and Armour of 1066 The year 1066 is famous for changing the course of English history. The death of Edward I, also known as Edward the Confessor, caused a succession crisis. Three contenders would fight for the English crown and the right to rule the country. ° Harold Godwinson of Saxon England ° Harald Hardrada of Norway ° William the Duke of Normandy All three believed they had a right to the English throne. In order to fight for the crown they needed armies with weapons, armour and battle tactics. The ensuing epic battles of Fulford, Stamford Bridge and Hastings have earned their place in the history books, and led to William Duke of Normandy becoming King of England. Let’s focus on the Battle of Hastings and have a look at the weapons and armour the warriors used nearly 1,000 years ago. Additional resources Watch a video all about the arms and armour of 1066 on our YouTube channel. Arms & Armour of 1066 / © Royal Armouries / April 2020 / 1/5 The Saxons Axes Types of Saxon warriors Axes were a very common weapon in Europe at that time. Saxon Housecarls are often depicted armed with axes on the Bayeux Tapestry, and the Viking warriors of Hardrada’s army would certainly have wielded them too. This axe head, from our collection, is possibly of Viking origin. These weapons caused a huge amount of damage and injury. The axe head would be mounted on a long handle, between 1.5 and 2 metres in length. -
The Viking Collection and Hans Jacob Orning Typesetting by Florian Grammel, Copenhagen Printed by Special-Trykkeriet Viborg A-S ISBN 978-87-7674-935-4 ISSN 0108-8408
i i “VC23” — 2017/5/31 — 17:16 — page 1 — #1 i i THE VIKING COLLECTION Studies in Northern Civilization Founding Editors Preben Meulengracht Sørensen Gerd Wolfgang Weber General Editors Margaret Clunies Ross Matthew Driscoll Annette Lassen Mats Malm Volume 23 i i i i i i “VC23” — 2017/5/31 — 17:16 — page 2 — #2 i i i i i i i i “VC23” — 2017/5/31 — 17:16 — page 3 — #3 i i Hans Jacob Orning THE REALITY OF THE FANTASTIC The Magical, Political and Social Universe of Late Medieval Saga Manuscripts UNIVERSITY PRESS OF SOUTHERN DENMARK 2017 i i i i i i “VC23” — 2017/5/31 — 17:16 — page 4 — #4 i i © The Viking Collection and Hans Jacob Orning Typesetting by Florian Grammel, Copenhagen Printed by Special-Trykkeriet Viborg a-s ISBN 978-87-7674-935-4 ISSN 0108-8408 i i i i i i “VC23” — 2017/5/31 — 17:16 — page 5 — #5 i i Contents Acknowledgments 9 Abbreviations 11 Introduction 13 1 Using ‘unhistorical’ sagas as historical sources 21 The genre concept: gain or pain? . 22 What is a saga? – the philological challenge . 25 The reality of the fantastic? – the historical challenge . 32 The historical background . 39 2 Centre and periphery 45 Magic . 46 The political universe . 51 Social hierarchy . 53 3 Three modes of reading 59 Sagas as stories – vehicles of ideology . 59 Sagas as structures – vehicles of myths . 62 Sagas as dynamics – vehicles of negotiation . 68 4 The setup of this book 75 5 i i i i i i “VC23” — 2017/5/31 — 17:16 — page 6 — #6 i i I. -
Sacrifice and Sacrificial Ideology in Old Norse Religion
Sacrifice and Sacrificial Ideology in Old Norse Religion Daniel Bray The practice of sacrifice is often treated as 'the dark side' of Old Norse heathenism, by both medieval Christian commentators and modern scholars alike. However, within Norse religious practice, sacrificial ritual (blot) was one of the most central acts of religious observance. This paper will seek to examine aspects of the significance of blot within Old Norse religion, the ideology of sacrifice as it operated within this tradition and its relation to other Indo-European traditions, and the reactions to the issue of sacrifice by medieval contemporaries and modern scholarship. An examination of Old Norse literature relating to religious practice demonstrates the importance of blot within the religious life of the heathens of Scandinavia. Well over one hundred and fifty references to blot can be found in different sources, including Eddic and skaldic poetry, early historical works and annals, legal material, and saga literature. There are no extant scriptures or religious manuals from the heathen Norse that give a detailed explanation of the theory and operation of sacrifice. However, the accounts of sacrificial practice, taken altogether, provide a wealth of knowledge about how it was performed, by whom and to whom, as well as where, when and under what circumstances it was performed. The Old Norse verb bl6ta, which means 'to sacrifice', also has the extended meaning 'to worship', particularly by means of sacrifice, which testifies to the importance of sacrifice as a form of worship. In a language that had no proper word for its indigenous religion, the word blot had become a by-word for all things heathen, evidenced by terms such as blotdomr, blotskapr, or blotnaor 'heathen worship', bl6thus 'temple', bl6tmaor 'heathen worshipper' and even bl6tguo 'heathen god'.1 A survey of the literature reveals a number of essential features of sacrificial ritual in Old Norse heathenism. -
The Calontir Army Songbook
Under the Shield Wall Words: Chidiock the Younger and Andrixos Seljukroctonis Music: Under the Boardwalk Oh when the sun is hot and your head's burning in your helm, The And though you fight and fight, neither side can overwhelm. Under the shield wall, it's the place to be, With my lady beside me, willingly. (Completely Unofficial) Under the shield wall, where it's quiet and dark, Under the shield wall, like our own private park, Under the shield wall, polearms crashing above, Under the shield wall, we'll be making love, Under the slieldwan, shield wall. Calontir Army Oh it's the sales! place !hal fighter can ever be. No weapon reaches there to break our sweet tranquility, Under the shield wall, out of the sun, Fighters" Authorization With my lady beside me, we'll be havin' fun. • Chorus So when the sides are joined, and you find yourself in the press, Why don't you join me there and take a break from battle strass. Under the shield wall, it's the place to be, With my lady beside me, carnally. Chorus CHOIR A Grazing Mace, I Men of Hartech, I2 Bocephus Song, I7 Navy of Calontir, I2 Calontir Stands Alone, I Non Nobis, 13 Songbook Cheer, 2 None but Calontir-0, 13 Cruiskeen Lawn, 3 Pavel's Song, I4 Drums in my Heart, 4 Ques~ I4 For Crown and For Kingdom, S Raven Banner, IS Fyrdmen on Campaign, 6 Requiem for A Huscart, I6 \ Hal's Song (The man o'war), 4 Song of the Caton Huscart, IS Hamster Song, 7 Song of the Shield Wall, I7 Hit 'em Again, 8 Steel-Shod Dance, I8 Hotspur, 9 Under the Shield Wall, 19 Knighfs Leap, 10 We Be Soldiers Three, 7 Leaving Song, II P ennsic XXX edition 19 A Grazing Mace Cheer Words: Fernando Rodriguez de Falcon and Lyriel de Ia Foret A grazing mace, how sweet the blow That mace has slain ten thousand foes Tune: Bird of Prey March Leslie Rsh That killed a wretch like me.