Teutonic Mythology: Gods and Goddesses of the Northland
TTeeuuttoonniicc MMyytthhoollooggyy Gods and Goddesses of the Northland by Viktor Rydberg IN THREE VOLUMES Vol. II NORRŒNA SOCIETY LONDON - COPENHAGEN - STOCKHOLM - BERLIN - NEW YORK 1907 TABLE OF CONTENTS VOLUME II 53. Myth in Regard to the Lower World — 353 54. Myth Concerning Mimer’s Grove — 379 55. Mimer’s Grove and Regeneration of the World — 389 56. Gylfaginning’s Cosmography — 395 57. The Word Hel in Linguistic Usage — 406 58. The Word Hel in Vegtamskvida and in Vafthrudnersmal — 410 59. Border Mountain Between Hel and Nifelhel — 414 60. Description of Nifelhel — 426 61. Who the Inhabitants of Hel are — 440 62. The Classes of Beings in Hel — 445 63. The Kingdom of Death — 447 64. Valkyries, Psycho-messengers of Diseases — 457 65. The Way of Those who Fall by the Sword — 462 66. Risting with the Spear-point — 472 67. Loke’s Daughter, Hel — 476 68. Way to Hades Common to the Dead — 482 69. The Doom of the Dead — 485 70. Speech-Runes Ords Tírr Námæli — 490 71. The Looks of the Thingstead — 505 72. The Hades Drink — 514 73. The Hades Horn Embellished with Serpents — 521 74. The Lot of the Blessed — 528 75. Arrival at the Na-gates — 531 76. The Places of Punishment — 534 77. The Hall in Nastrands — 540 78. Loke’s Cave of Punishment — 552 79. The Great World-Mill — 565 80. The World-Mill — 568 81. The World-Mill makes the Constellations Revolve — 579 82. Origin of the Sacred Fire — 586 83. Mundilfore’s Identity with Lodur — 601 84. Nat, Mother of the Gods — 608 85.
Tomten A Christmas Poem by Viktor Rydberg INTRODUCTION The Christmas poem, Tomten, by Viktor Rydberg is one of the most popular ones in Finland and Sweden. I recall having to learn this in grade school; each student was assigned some verses so we could recite the full poem by heart in class. During Christmas it was often read in the radio. This text of the poem is shown in Swedish, English and Finnish. You can listen to the traditional recital in Swedish, see a movie in Swedish with English subtitles and listen to it in a song in Finnish. The pictures used here of Tomten are from “Tonttula” in the village of Larsmo in Finland, between Karleby and Jakobstad. I have included a relationship list showing how Viktor Rydberg is one of our distant cousins. Tomte From Wikipedia, the free encyclopedia A tomte, nisse or tomtenisse (Sweden) or tonttu (Finland) is a humanoid mythical creature of Scandinavian folklore. The tomte or nisse was believed to take care of a farmer's home and children and protect them from misfortune, in particular at night, when the housefolk were asleep. The tomte/nisse was often imagined as a small, elderly man (size varies from a few inches to about half the height of an adult man), often with a full beard; dressed in the everyday clothing of a farmer. The Swedish name tomte is derived from a place of residence and area of influence: the house lot or tomt. Nisse is the common name in Norwegian, Danish and the Scanian dialect in southernmost Sweden; it is a nickname for Nils, and its usage in folklore comes from expressions such as Nisse god dräng ("Nisse good lad", cf.
II. Old Norse Myth and Society HOW UNIFORM WAS THE OLD NORSE RELIGION? Stefan Brink ne often gets the impression from handbooks on Old Norse culture and religion that the pagan religion that was supposed to have been in Oexistence all over pre-Christian Scandinavia and Iceland was rather homogeneous. Due to the lack of written sources, it becomes difficult to say whether the ‘religion’ — or rather mythology, eschatology, and cult practice, which medieval sources refer to as forn siðr (‘ancient custom’) — changed over time. For obvious reasons, it is very difficult to identify a ‘pure’ Old Norse religion, uncorroded by Christianity since Scandinavia did not exist in a cultural vacuum.1 What we read in the handbooks is based almost entirely on Snorri Sturluson’s representation and interpretation in his Edda of the pre-Christian religion of Iceland, together with the ambiguous mythical and eschatological world we find represented in the Poetic Edda and in the filtered form Saxo Grammaticus presents in his Gesta Danorum. This stance is more or less presented without reflection in early scholarship, but the bias of the foundation is more readily acknowledged in more recent works.2 In the textual sources we find a considerable pantheon of gods and goddesses — Þórr, Óðinn, Freyr, Baldr, Loki, Njo3rðr, Týr, Heimdallr, Ullr, Bragi, Freyja, Frigg, Gefjon, Iðunn, et cetera — and euhemerized stories of how the gods acted and were characterized as individuals and as a collective. Since the sources are Old Icelandic (Saxo’s work appears to have been built on the same sources) one might assume that this religious world was purely Old 1 See the discussion in Gro Steinsland, Norrøn religion: Myter, riter, samfunn (Oslo: Pax, 2005).
Hƒ›r’s Blindness and the Pledging of Ó›inn’s Eye: A Study of the Symbolic Value of the Eyes of Hƒ›r, Ó›inn and fiórr Annette Lassen The Arnamagnæan Institute, University of Copenhagen The idea of studying the symbolic value of eyes and blindness derives from my desire to reach an understanding of Hƒ›r’s mythological role. It goes without saying that in Old Norse literature a person’s physiognomy reveals his characteristics. It is, therefore, a priori not improbable that Hƒ›r’s blindness may reveal something about his mythological role. His blindness is, of course, not the only instance in the Eddas where eyes or blindness seem significant. The supreme god of the Old Norse pantheon, Ó›inn, is one-eyed, and fiórr is described as having particularly sharp eyes. Accordingly, I shall also devote attention in my paper to Ó›inn’s one-eyedness and fiórr’s sharp gaze. As far as I know, there exist a couple of studies of eyes in Old Norse literature by Riti Kroesen and Edith Marold. In their articles we find a great deal of useful examples of how eyes are used as a token of royalty and strength. Considering this symbolic value, it is clear that blindness cannot be, simply, a physical handicap. In the same way as emphasizing eyes connotes superiority 220 11th International Saga Conference 221 and strength, blindness may connote inferiority and weakness. When the eye symbolizes a person’s strength, blinding connotes the symbolic and literal removal of that strength. A medieval king suffering from a physical handicap could be a rex inutilis.
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.
Gender and Genre: Short and Long Forms in the Saga Literature
Gender and Genre: Short and Long Forms in the Saga Literature Ma9r er manns gaman. Havamal The male world of the p&ttir (singular: pattr) or short stories of the Old Norse-Icelandic saga literature can be exemplified in a telling form by the thirteenth- or fourteenth-century tale about Gestr of the Norns, Norna-Gests pattr. 1 The guest, a visitor from the distant pagan and heroic past, finds his way to the court of the first Christian king of Norway, Olafr Tryggvason (the year would have been 998). An atmosphere of tension accompanies the stranger, who is not Christian but has been primesigned; and the mystery peaks when Gestr, chal lenged by a wager, produces a fragment of a golden saddle buckle that had belonged to the ancient hero SigurSr Fafnisbani. Pressed for an explanation, the old man begins his reminiscences of the heroic age with the story of Sigurd’s youth, including a minor incident in i . Critical text in Ernst Wilken, ed., Die prosaische Edda im Auszuge nebst Vglsunga- saga undNornagests-thattr, Theil I: Text (Paderborn, 1877), pp. 2 35-26 1. (Wilken’s 2nd ed. rev. of 19 12 omits the introductory discussions; cf. there pp. vi-vii.) There are two versions: Flateyjarbok: En samling af norske konge-sagaer mid indskudte mindre fort&l-linger, [ed. C. R. Unger and G. Vigfusson] 3 vols. (Christiania, 1860-68), I, 346-359; and Norrone skrifter af sagnhistorisk indhold, ed. Sophus Bugge, I [=Det norske oldskriftselskabs samlinger, VI] (Christiania, 1864), 47-80 [from “ S” (= MS. AM 62) with readings from Flateyjarbok].
The Spirit of Lachmann, the Spirit of Bédier: Old Norse Textual Editing in the Electronic Age by Odd Einar Haugen
The spirit of Lachmann, the spirit of Bédier: Old Norse textual editing in the electronic age by Odd Einar Haugen Paper read at the annual meeting of The Viking Society, University College London, 8 November 2002 Electronic version, 20 January 2003 Introduction In this paper I would like to discuss some central aspects of textual editing, as it has been practised in Old Norse studies for the past century, and since we now are at the beginning of a new century, I shall venture some opinions on the direction of textual editing in the digital age. I shall do so by beginning with two key figures of modern textual history, the German scholar Karl Lachmann (1793–1851) and the French scholar and author Joseph Bédier (1864–1938). Their approaches to the art and science of editing are still highly relevant. Lachmann The scientific foundation of textual editing has been credited to Karl Lachmann and other classical scholars such as Karl Gottlob Zumpt (1792–1849), Johan Nicolai Madvig (1804–1886) and Friedrich Ritschel (1806–1876). Lachmann himself was active in the fields of Medieval editing, with Nibelungen lied (1826), in Biblical studies, with his new edition of the Greek New testament (1831), and in Classical scholarship, with his edition of Lucrets’ De rerum natura (1850). This made Lachmann’s name known throughout all fields of textual editing, and with some reservations it is probably fair to attach his name to the great changes of editorial techniques made in the begin- ning of the 19th century. However, as Sebastiano Timpanaro (1923–2000) points out in his important study of Lachmann’s contribution, Die Entstehung der Lachmannschen Methode (1971), the method was basically a method of genealogical analysis.
{PDF EPUB} Myth and Fiction in Early Norse Lands by Ursula Dronke Ursula Dronke Obituary
Read Ebook {PDF EPUB} Myth and Fiction in Early Norse Lands by Ursula Dronke Ursula Dronke obituary. Ursula Dronke, who has died aged 91, was an inspirational scholar and teacher of Old Norse literature, and a specialist in the sagas and poetry of medieval Iceland. In 1969, she published the first volume of her monumental edition of the Poetic Edda, a medieval anthology of the great Icelandic mythological and heroic poems. The second volume, published in 1997, includes her translation of the poem Völuspá, whose textual complexity and allusive obscurity are unparalleled. Völuspá is spoken by a mysterious prophetess, summoned, as it seems, by the god Odin, and she transmits, unwillingly, the arcane knowledge she alone knows: about the creation of the world (and a time even before that), and then about its end, Ragnarök, the great Norse apocalypse, which she describes in dramatic detail. Ursula, with endless patience, and after years of study, developed a confident understanding of the text's literary dynamic, with its interplay of mediumistic voices, and its sudden switches between past, present and future. For Old Norse scholars, Völuspá had been a challenge; Ursula restored it as a work of art. The third volume of the Poetic Edda went to press in Ursula's 90th year; the projected four volumes now remain incomplete. Nevertheless, this series has completely dominated Eddaic studies worldwide, with the sophistication of its literary analyses and the tremendous breadth of background knowledge brought to bear on the poetry. As Vigfússon reader in Old Icelandic literature and antiquities at Oxford University from 1976 to 1988, Ursula supervised many graduate students and I was privileged to be one of them; the vast majority have gone on to teach Old Norse-Icelandic at universities around the world.
Teutonic Mythology Vol. 1 By Viktor Rydberg Teutonic Mythology Vol. 1 I. 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. Even the saga-men, from whom the Roman historian Tacitus gathered the facts for his Germania—an invaluable work for the history of civilisation— knew that in the so-called Svevian Sea, north of the German continent, lay another important part of Germany, inhabited by Sviones, a people divided into several clans. Their kinsmen on the continent described them as rich in weapons and fleets, and in warriors on land and sea (Tac.,Germ., 44). This northern sea-girt portion of Germany is called Scandinavia—Scandeia by other writers of the Roman Empire; and there can be no doubt that this name referred to the peninsula which, as far back as historical monuments can be found, has been inhabited by the ancestors of the Swedes and the Norwegians.