Dragons from Fafnir to Smaug, to the Pearl
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1 the Legendary Saga of the Volsungs Cecelia Lefurgy Viking Art and Literature October 4, 2007 Professor Tinkler and Professor E
1 The Legendary Saga of the Volsungs Cecelia Lefurgy Viking Art and Literature October 4, 2007 Professor Tinkler and Professor Erussard Stories that are passed down through oral and written traditions are created by societies to give meaning to, and reinforce the beliefs, rules and habits of a particular culture. For Germanic culture, The Saga of the Volsungs reflected the societal traditions of the people, as well as their attention to mythology. In the Saga, Sigurd of the Volsung 2 bloodline becomes a respected and heroic figure through the trials and adventures of his life. While many of his encounters are fantastic, they are also deeply rooted in the values and belief structures of the Germanic people. Tacitus, a Roman, gives his account of the actions and traditions of early Germanic peoples in Germania. His narration remarks upon the importance of the blood line, the roles of women and also the ways in which Germans viewed death. In Snorri Sturluson’s The Prose Edda, a compilation of Norse mythology, Snorri Sturluson touches on these subjects and includes the perception of fate, as well as the role of shape changing. Each of these themes presented in Germania and The Prose Edda aid in the formation of the legendary saga, The Saga of the Volsungs. Lineage is a meaningful part of the Germanic culture. It provides a sense of identity, as it is believed that qualities and characteristics are passed down through generations. In the Volsung bloodline, each member is capable of, and expected to achieve greatness. As Sigmund, Sigurd’s father, lay wounded on the battlefield, his wife asked if she should attend to his injuries so that he may avenge her father. -
The Comforts: the Image of Home in <I>The Hobbit</I>
Volume 14 Number 1 Article 6 Fall 10-15-1987 All the Comforts: The Image of Home in The Hobbit & The Lord of the Rings Wayne G. Hammond Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Hammond, Wayne G. (1987) "All the Comforts: The Image of Home in The Hobbit & The Lord of the Rings," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 1 , Article 6. Available at: https://dc.swosu.edu/mythlore/vol14/iss1/6 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Examines the importance of home, especially the Shire, as metaphor in The Hobbit and The Lord of the Rings. Relates it to the importance of change vs. permanence as a recurring theme in both works. -
4 STAR Dragon Word Problems 1. in January, There Were 34,371 New
4 STAR Dragon Word Problems 1. In January, there were 34,371 new born dragons. In February, another 61,428 dragons were born. However, in March, 42,985 dragons died. How many dragons are there? 2. The Iron Swords Company employed 62,134 men, but then the industry experienced a decline, and 3,986 men left. However, business began to pick up again, and the Iron Swords Company increased its employment of men by 761 men. How many men work at the Iron Swords Company now? 3. The great dragons of the west burnt 19,426 houses in their first week. They burnt 73,645 houses in their second week and more in their third week. In total, 155, 478 houses were burnt. How many did they burn in week 3? 4. The dragon master trained 34,417 dragons, but sadly, 1,259 of those dragons died. The dragon master needs 50,000 dragons. How many more dragons does he need? 5. Merlin trained 82,016 dragons, Miss Peters trained 399 dragons and Mrs Durose trained 31,427 dragons. What is the difference in the amount of dragons trained by Miss Peters and Mrs.Durose? 6. The dragon keeper had 93,502 dragon eggs in a deep cave. A powerful magician had 419 dragon eggs less than the dragon keeper. A witch had 7,654 dragons. What is the total amount of dragon eggs? 7. Merlin was selling 63,004 dragon spikes a month, and 3,265 dragon teeth. After a year, the sales of dragon spikes decreased by 7,567. -
The Dragon Prince by Laurence Yep a Chinese Beauty and the Beast Tale
Cruchley’s Collection Diana Cruchley is an award-winning educator and author, who has taught at elementary and secondary levels. Her workshop are practical, include detailed handouts, and are always enthusiastically received. Diana Cruchley©2019. dianacruchley.com The Dragon Prince by Laurence Yep A Chinese Beauty and the Beast Tale A poor farmer with seven daughters is on his way home from his farm when a dragon seizes him and says he will eat him unless one of his daughters marries him. Seven (who makes money for the family with her excellent embroidery) agrees and they fly away to a gorgeous home, wonderful clothes, a great life…and he reveals he is a prince in disguise. She misses her home, and while there, Three, who is jealous, pushes her in the river and steals her identity. Three is rescued by an old lady and uses her wonderful sewing skills to make clothes and shoes they can sell in the market. The prince, realizing something is wrong, seeks his real bride and finds her because he sees her embroidery in the market. Happy ending all around – except for Three. Lawrence Yep, Harper Collins, ©1999, ISBN 978-0064435185 Teaching Ideas Art There are some nice Youtube instructions on “how to draw a Chinese dragon” that your students would enjoy learning. I liked the one by Paolo Marrone. Lawrence Yep He doesn’t have a website, but there is an interview of Lawrence Yep on line. He has written 60 books and won 2 Newberry awards. He also writes science fiction for adolescent readers. -
Tolkien's Creative Technique: <I>Beowulf</I> and <I>The Hobbit</I>
Volume 15 Number 3 Article 1 Spring 3-15-1989 Tolkien's Creative Technique: Beowulf and The Hobbit Bonniejean Christensen Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Christensen, Bonniejean (1989) "Tolkien's Creative Technique: Beowulf and The Hobbit," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 15 : No. 3 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol15/iss3/1 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Asserts that “The Hobbit, differing greatly in tone, is nonetheless a retelling of the incidents that comprise the plot and the digressions in both parts of Beowulf.” However, his retelling is from a Christian point of view. Additional Keywords Beowulf—Influence on The Hobbit; olkien,T J.R.R. -
1. Smaug, the Treasure Keeper
How have dragons evolved in modern literature? First we will study the classical representation of the fierce treasure- keeping monster in The Hobbit, then we will discuss its evolution as a potential ally or member of the family in Harry Potter and the Philosopher’s Stone and A Clash of Kings. We will also compare the film and television series adaptations of these works with the novels and evaluate the choices made to represent these dragons on screen. 1. Smaug, the treasure keeper This 1998 book cover edition of The Hobbit (published in 1937) written by J.R.R. Tolkien for his children. He invented a whole universe and an associated mythology. He is considered the father of Heroic Fantasy. Tolkien also translated Beowulf and it inspired him to create Smaug. Heroic fantasy is a subgenre of fantasy in which events occur in a world where magic is prevalent and modern technology is non-existent. Smaug is a dragon and the main antagonist in the novel The Hobbit, his treasure and the mountain he lives in being the goal of the quest. Powerful and fearsome, he invaded the Dwarf kingdom of Erebor 150 years prior to the events described in the novel. A group of thirteen dwarves mounted a quest to take the kingdom back, aided by the wizard Gandalf and the hobbit Bilbo Baggins. In The Hobbit, Thorin describes Smaug as "a most specially greedy, strong and wicked worm". The text is set just after Bilbo has stolen a cup from Smaug’s lair for his companions. The dragon is furious and he chases them as they escape through a tunnel. -
Gram (Mythology)
Gram (mythology) Gram (mythology)'s wiki: In Norse mythology, Gram ( Old Norse Gramr , meaning Wrath) is the sword that Sigurd used to kill the dragon Fafnir. [2] It is primarily used by the Volsungs in the Volsunga Saga . However, it is also seen in other legends Description. Nowhere in the Volsunga Saga is a clear description of Gram given, but there is enough scattered throughout the story to draw a picture of the sword. Sigurd's weapons, Gram included, are described as being âœall decked with gold and gleaming bright." Gram (disambiguation) â” Gram is a unit of measurement of mass. Otherwise, gram may refer to: gram, the Greek based suffix meaning drawing or representation. Contents 1 Places 2 People ⦠Wikipedia. Norse mythology in popular culture â” The Norse mythology, preserved in such ancient Icelandic texts as the Poetic Edda, the Prose Edda, and other lays and sagas, was little known outside Scandinavia until the 19th century. With the widespread publication of Norse myths and legends⦠⦠Wikipedia. Gram (mythology). Quite the same Wikipedia. Just better. In Norse mythology, Gram, (Old Norse Gramr, meaning Wrath)[1] is the sword that Sigurd used to kill the dragon Fafnir.[2]. Description. Gram was forged by Volund; Sigmund received it in the hall of the Völsung after pulling it out of the tree Barnstokkr where Odin placed it. The sword was destroyed in battle when Sigmund struck the spear of an enemy dressed in a black hooded cloak. In Norse mythology, Gram [1] is the sword that Sigurd used to kill the dragon Fafnir.[2] It is primarily used by the Volsungs in the Volsunga Saga. -
Readers' Guide
Readers’ Guide for by J.R.R. Tolkien ABOUT THE BOOK Bilbo Baggins is a hobbit— a hairy-footed race of diminutive peoples in J.R.R. Tolkien’s imaginary world of Middle-earth — and the protagonist of The Hobbit (full title: The Hobbit or There and Back Again), Tolkien’s fantasy novel for children first published in 1937. Bilbo enjoys a comfortable, unambitious life, rarely traveling any farther than his pantry or cellar. He does not seek out excitement or adventure. But his contentment is dis- turbed when the wizard Gandalf and a company of dwarves arrive on his doorstep one day to whisk him away on an adventure. They have launched a plot to raid the treasure hoard guarded by Smaug the Magnificent, a large and very dangerous dragon. Bilbo reluctantly joins their quest, unaware that on his journey to the Lonely Mountain he will encounter both a magic ring and a frightening creature known as Gollum, and entwine his fate with armies of goblins, elves, men and dwarves. He also discovers he’s more mischievous, sneaky and clever than he ever thought possible, and on his adventure, he finds the courage and strength to do the most surprising things. The plot of The Hobbit, and the circumstances and background of magic ring, later become central to the events of Tolkien’s more adult fantasy sequel, The Lord of the Rings. “One of the best children’s books of this century.” — W. H. AUDEN “One of the most freshly original and delightfully imaginative books for children that have appeared in many a long day . -
Treasures of Middle Earth
T M TREASURES OF MIDDLE-EARTH CONTENTS FOREWORD 5.0 CREATORS..............................................................................105 5.1 Eru and the Ainur.............................................................. 105 PART ONE 5.11 The Valar.....................................................................105 1.0 INTRODUCTION........................................................................ 2 5.12 The Maiar....................................................................106 2.0 USING TREASURES OF MIDDLE EARTH............................ 2 5.13 The Istari .....................................................................106 5.2 The Free Peoples ...............................................................107 3.0 GUIDELINES................................................................................ 3 5.21 Dwarves ...................................................................... 107 3.1 Abbreviations........................................................................ 3 5.22 Elves ............................................................................ 109 3.2 Definitions.............................................................................. 3 5.23 Ents .............................................................................. 111 3.3 Converting Statistics ............................................................ 4 5.24 Hobbits........................................................................ 111 3.31 Converting Hits and Bonuses...................................... 4 5.25 -
The Symbol of the Dragon and Ways to Shape Cultural Identities in Institute Working Vietnam and Japan Paper Series
2015 - HARVARD-YENCHING THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE CULTURAL IDENTITIES IN INSTITUTE WORKING VIETNAM AND JAPAN PAPER SERIES Nguyen Ngoc Tho | University of Social Sciences and Humanities, Vietnam National University – Ho Chi Minh City THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE 1 CULTURAL IDENTITIES IN VIETNAM AND JAPAN Nguyen Ngoc Tho University of Social Sciences and Humanities Vietnam National University – Ho Chi Minh City Abstract Vietnam, a member of the ASEAN community, and Japan have been sharing Han- Chinese cultural ideology (Confucianism, Mahayana Buddhism etc.) and pre-modern history; therefore, a great number of common values could be found among the diverse differences. As a paddy-rice agricultural state of Southeast Asia, Vietnam has localized Confucianism and absorbed it into Southeast Asian culture. Therefore, Vietnamese Confucianism has been decentralized and horizontalized after being introduced and accepted. Beside the local uniqueness of Shintoism, Japan has shared Confucianism, the Indian-originated Mahayana Buddhism and other East Asian philosophies; therefore, both Confucian and Buddhist philosophies should be wisely laid as a common channel for cultural exchange between Japan and Vietnam. This semiotic research aims to investigate and generalize the symbol of dragons in Vietnam and Japan, looking at their Confucian and Buddhist absorption and separate impacts in each culture, from which the common and different values through the symbolic significances of the dragons are obviously generalized. The comparative study of Vietnamese and Japanese dragons can be enlarged as a study of East Asian dragons and the Southeast Asian legendary naga snake/dragon in a broader sense. The current and future political, economic and cultural exchanges between Japan and Vietnam could be sped up by applying a starting point at these commonalities. -
The Curse of the Ring a Play in Four Acts for Fourth Grade
The Curse of the Ring a Play in Four Acts for Fourth Grade by Roberto Trostli The Hartsbrook School 193 Bay Rd Hadley, MA 01035 (413) 5860-1908 [email protected] Author’s note: This play is one of a group of plays written for the classes I taught at the Rudolf Steiner School in New York from 1982–1991 and at The Hartsbrook School in Hadley, MA from 1991-1999. The theme of each play was chosen to address a particular class’s issues and interests, and the characters were rendered with specific students in mind. When other teachers and classes have performed my plays, I have encouraged them to adapt or revise the play as necessary to derive the maximum pedagogical value from it. Other class’s performances have showed me artistic dimensions of my plays that I could not have imagined, and I have always been grateful to see that my work has taken on new life. I have posted my plays on the Online Waldorf Library as Microsoft Word documents so that they can easily be downloaded and changed. I have purposely given few stage directions so that teachers and students will make the plays more their own. Dear Colleagues: I hope that these plays will serve you well as inspiration, as a scaffold on which to build your own creation, or as a script to make your own. Please don’t hesitate to take whatever liberties you wish so that the play may serve you in your work. If you have questions, don’t hesitate to phone or email me. -
Fafnir, from the Icelandic Volsunga Saga Hreidmar, Who Was the King
Fafnir, from the Icelandic Volsunga Saga Hreidmar, who was the King of the Dwarf People, had three sons. Fafnir was the eldest and he was gifted with a fearless soul and a powerful arm. The second son, Otr, was a shape-shifter, and then there was Regin who built a house of gold to please his father. No-one dared to approach Fafnir because of his fierce glances and Ægis helmet. His fearsome appearance was one of the reasons he guarded the gold house of his father. One day, something terrible happened. Odin and Loki were walking by a stream in Midgard, one of the nine worlds of Yggdrasil, the sacred tree of life in Norse mythology. Trickster God Loki killed an otter and flung it over his shoulder. What he did not know was that, being something of a magician, Otr often took the form of an otter during the day. The gods continued their journey until they came to the house of Hreidmar, whom they asked for shelter for the night. At first Hreidmar was welcoming enough, but when he saw the otter, he shouted in rage and grief, for the dead creature was his son. Hreidmar summoned his other two sons, Regin and Fafnir. Then, with his magic spells, he disarmed the gods and bound them. Odin told Hreidmar that he and his companions would pay whatever ransom he asked. Hreidmar and his sons demanded that the otter’s skin should be stuffed with gold treasures. Loki, the most cunning of the gods, went straight to the place where he had killed the otter and stared down into the water.