Age of Blood Wargaming in the Viking Age
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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 Prose Edda
THE PROSE EDDA SNORRI STURLUSON (1179–1241) was born in western Iceland, the son of an upstart Icelandic chieftain. In the early thirteenth century, Snorri rose to become Iceland’s richest and, for a time, its most powerful leader. Twice he was elected law-speaker at the Althing, Iceland’s national assembly, and twice he went abroad to visit Norwegian royalty. An ambitious and sometimes ruthless leader, Snorri was also a man of learning, with deep interests in the myth, poetry and history of the Viking Age. He has long been assumed to be the author of some of medieval Iceland’s greatest works, including the Prose Edda and Heimskringla, the latter a saga history of the kings of Norway. JESSE BYOCK is Professor of Old Norse and Medieval Scandinavian Studies at the University of California, Los Angeles, and Professor at UCLA’s Cotsen Institute of Archaeology. A specialist in North Atlantic and Viking Studies, he directs the Mosfell Archaeological Project in Iceland. Prof. Byock received his Ph.D. from Harvard University after studying in Iceland, Sweden and France. His books and translations include Viking Age Iceland, Medieval Iceland: Society, Sagas, and Power, Feud in the Icelandic Saga, The Saga of King Hrolf Kraki and The Saga of the Volsungs: The Norse Epic of Sigurd the Dragon Slayer. SNORRI STURLUSON The Prose Edda Norse Mythology Translated with an Introduction and Notes by JESSE L. BYOCK PENGUIN BOOKS PENGUIN CLASSICS Published by the Penguin Group Penguin Books Ltd, 80 Strand, London WC2R 0RL, England Penguin Group (USA) Inc., -
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. -
Pedigree of the Wilson Family N O P
Pedigree of the Wilson Family N O P Namur** . NOP-1 Pegonitissa . NOP-203 Namur** . NOP-6 Pelaez** . NOP-205 Nantes** . NOP-10 Pembridge . NOP-208 Naples** . NOP-13 Peninton . NOP-210 Naples*** . NOP-16 Penthievre**. NOP-212 Narbonne** . NOP-27 Peplesham . NOP-217 Navarre*** . NOP-30 Perche** . NOP-220 Navarre*** . NOP-40 Percy** . NOP-224 Neuchatel** . NOP-51 Percy** . NOP-236 Neufmarche** . NOP-55 Periton . NOP-244 Nevers**. NOP-66 Pershale . NOP-246 Nevil . NOP-68 Pettendorf* . NOP-248 Neville** . NOP-70 Peverel . NOP-251 Neville** . NOP-78 Peverel . NOP-253 Noel* . NOP-84 Peverel . NOP-255 Nordmark . NOP-89 Pichard . NOP-257 Normandy** . NOP-92 Picot . NOP-259 Northeim**. NOP-96 Picquigny . NOP-261 Northumberland/Northumbria** . NOP-100 Pierrepont . NOP-263 Norton . NOP-103 Pigot . NOP-266 Norwood** . NOP-105 Plaiz . NOP-268 Nottingham . NOP-112 Plantagenet*** . NOP-270 Noyers** . NOP-114 Plantagenet** . NOP-288 Nullenburg . NOP-117 Plessis . NOP-295 Nunwicke . NOP-119 Poland*** . NOP-297 Olafsdotter*** . NOP-121 Pole*** . NOP-356 Olofsdottir*** . NOP-142 Pollington . NOP-360 O’Neill*** . NOP-148 Polotsk** . NOP-363 Orleans*** . NOP-153 Ponthieu . NOP-366 Orreby . NOP-157 Porhoet** . NOP-368 Osborn . NOP-160 Port . NOP-372 Ostmark** . NOP-163 Port* . NOP-374 O’Toole*** . NOP-166 Portugal*** . NOP-376 Ovequiz . NOP-173 Poynings . NOP-387 Oviedo* . NOP-175 Prendergast** . NOP-390 Oxton . NOP-178 Prescott . NOP-394 Pamplona . NOP-180 Preuilly . NOP-396 Pantolph . NOP-183 Provence*** . NOP-398 Paris*** . NOP-185 Provence** . NOP-400 Paris** . NOP-187 Provence** . NOP-406 Pateshull . NOP-189 Purefoy/Purifoy . NOP-410 Paunton . NOP-191 Pusterthal . -
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. -
Panel 4 a Viking Legend
A Viking Legend: The Power of Love By Ainsley Bloomer Background, Contents & Introduction Appendix and Genealogical Chart First and Last Pages of Annotated Index, Sources Page The Ramsund carving in Södermanland, Sweden, dated to the 11th-century CE. A diagram of the carvings, created by anonymous, published 22 February 2021. (https://www.ancient.eu/image/13465/the-ramsund-runestone/) (https://www.ancient.eu/image/13465/the-ramsund-runestone/) 1. Sigurd sitting naked in front of the fire preparing the heart of the dragon Fafnir for his foster-father Regin, who is Fafnir’s brother. When Sigurd touches it, he burns himself and sticks his finger into his mouth. As he has tasted dragon blood, he starts to understand the birds’ song. 2. The birds saying that Regin will try to kill Sigurd, which causes Sigurd to cut off Regin’s head. 3. Regin lying dead beside his own head, his smithing tools with which he reforged Sigurd’s sword Gram scattered around him. 4. Sigurd’s horse Grani laden with the dragon’s treasure. 5. Sigurd’s previous killing of Fafnir. 6. Regin’s and Fafnir’s brother Ótr 1 5 Sigurd Portal Door (www.pitt.edu/~dash/sigurddoor.html) 1. Gunnar in the snake pit playing 2 the harp with his toes 2. Sigurd killing Regin 3. Sigurd’s horse Grani holding the 6 chest of treasures, also shows the birds that spoke to Sigurd. 4. Sigurd roasting the dragon heart, searing his finger and putting it in his mouth to heal when juices from the dragon heart permit him to understand the speech of the birds 3 4 Sigurd 7 5. -
From Iron Age Myth to Idealized National Landscape: Human-Nature Relationships and Environmental Racism in Fritz Lang’S Die Nibelungen
FROM IRON AGE MYTH TO IDEALIZED NATIONAL LANDSCAPE: HUMAN-NATURE RELATIONSHIPS AND ENVIRONMENTAL RACISM IN FRITZ LANG’S DIE NIBELUNGEN Susan Power Bratton Whitworth College Abstract From the Iron Age to the modern period, authors have repeatedly restructured the ecomythology of the Siegfried saga. Fritz Lang’s Weimar lm production (released in 1924-1925) of Die Nibelungen presents an ascendant humanist Siegfried, who dom- inates over nature in his dragon slaying. Lang removes the strong family relation- ships typical of earlier versions, and portrays Siegfried as a son of the German landscape rather than of an aristocratic, human lineage. Unlike The Saga of the Volsungs, which casts the dwarf Andvari as a shape-shifting sh, and thereby indis- tinguishable from productive, living nature, both Richard Wagner and Lang create dwarves who live in subterranean or inorganic habitats, and use environmental ideals to convey anti-Semitic images, including negative contrasts between Jewish stereo- types and healthy or organic nature. Lang’s Siegfried is a technocrat, who, rather than receiving a magic sword from mystic sources, begins the lm by fashioning his own. Admired by Adolf Hitler, Die Nibelungen idealizes the material and the organic in a way that allows the modern “hero” to romanticize himself and, with- out the aid of deities, to become superhuman. Introduction As one of the great gures of Weimar German cinema, Fritz Lang directed an astonishing variety of lms, ranging from the thriller, M, to the urban critique, Metropolis. 1 Of all Lang’s silent lms, his two part interpretation of Das Nibelungenlied: Siegfried’s Tod, lmed in 1922, and Kriemhilds Rache, lmed in 1923,2 had the greatest impression on National Socialist leaders, including Adolf Hitler. -
A Handbook of Norse Mythology
A HANDBOOK OF NORSE MYTHOLOGY BY KARL MORTENSEN DOCTOR OF PHILOSOPHY UNIVERSITY OF COPENHAGEN ; ADJUNCT AT THE CATHEDRAL SCHOOL (ROYAL GYMNASIUM) AT ODENSB TRANSLATED FROM THE DANISH BY A. CLINTON CROWELL ASSOCIATE PROFESSOR IN BROWN UNIVERSITY 1 ' , . * ' ' - r , * - . l I I . , NEW YORK THOMAS Y. CROWELL COMPANY PUBLISHERS THE NEW YORK PUBLIC LIBRARY COPYRIGHT, 1913, BY THOMAS Y. CROWELL COMPANY. Published March, 1913. This compilation © Phoenix E-Books UK AUTHOR'S PREFACE THIS popular presentation of the myths and sagas which took shape here in the North but whose foundation is common property of all the people who speak a Gothic-Germanic language, first appeared in 1898 and has been used since then in the study of Xorse Mythology in the high schools and universities of all the Scandina- vian countries. Since Professor Crowell has thought that the little book might also achieve a modest success in the youngest but richest and.mosi powerful branch which has grown iron, cur ccmin-on >;uot, I have without hesitation, accopte^ his friendly pro- posal to transjate.jc into English. I find r great satisfaction m, hav -;ig my work put into the world's most comprehensive lan- guage and placed before students in the United States, where I have so many friends, where so many relatives and fel- low-countrymen have found a home and a iii iv AUTHOR'S PREFACE future, and toward which country we Northerners look with the deepest admira- tion and respect for the mighty forces which are seeking to control material things and to break new ground in the infinite realms of the intellect. -
Steigen Nev- Samlingen På Tusentallet
I iernalderh øvdingens innerste rike Av Hein Bjartmann Bjerck En vandring langs Vollmoveien er en reise i tid. Reisen fører til det innerste av jernalder- høvdingenes rike, og er illustrert med bildene til arkeologen som grov ut disse rike fortidsminnene for femti år siden. Nær- mere vikingene kommer du neppe noe annet sted. forteller sagatekstene lite, her blir de arkeologiske kildene de Veien til vikingtideh... viktigste. Og de finnes i rikt monn. Forsitle: Rin.gtunet tormenn fra Steigen nev- samlingen på tusentallet. Men pci Vollmoen. F'oto nes i Snorres kongesagaer det var på EngelPya at stormenn Maktsenter i 2000 år H. E. Lund.. blant de fremste i landet. som Øyvind Kinnrive, Ulv Steigen er el hovedsted på det De deltok i storpolitikken både Raneson, Sigurd Raneson og arkeologiske norgeskartet. Her her hjemme og i viktige ferder Lodin Ongul hadde sine trjem, er tufter etter naust til langskip, til lrland, Skottland og Vester- sine rØtter, sitt økonomiske og store gravhauger, gravfunn med havs@yene i årene like etter riks- sosiale llndament. Om dette verdifulle gjenstander fia den S1t,-tlspiss av .jern Jra eldre jernalder, _lunnet i en hqtvdinggrav fra 300-tcillet ved ring tunet på Bø. Foto TrontsQ museum. 2 Steigen kirke er h6yst levende Volhttoyeien nted. også i vår tid. ringtLlrct neder.st t.lt. Ontkri.ng tLrnet Lange linjer t,ises ttrr etler .ttore Det er ganske imponerende å kokegroper. Foto tenke på at den vakre kirken er H. E. Ltutd. tuftet på en tradisjon med tydeli- ge røtter tilbake i jernalderhilv- dingenes verden. Steigen er et nBkkelområde fbr å fbrstå de lange linjene i historia. -
Cole Paper.Pdf
Echoes of the Book of Joseph and Aseneth 5 ECHOES OF THE BOOK OF JOSEPH AND ASENETH, PARTICULARLY IN YNGVARS SAGA VÍÐFÑRLA BY RICHARD COLE University of Notre Dame NE OF THE GREAT JOYS OF READING the Old Testament lies Oin that work’s proclivity for unanswered questions. A case in point is the question of Aseneth, the wife of Joseph of snazzy coat fame. Aseneth appears three times in the Hebrew Bible. She is introduced in Genesis 41:45: ‘And Pharaoh called Joseph’s name Zaphnathpaaneah; and he gave him to wife Asenath the daughter of Potipherah priest of On. And Joseph went out over all the land of Egypt.’ She appears again fleetingly in Genesis 41:50: ‘And unto Joseph were born two sons before the years of famine came, which Asenath the daughter of Potipherah priest of On bare unto him.’ Finally, and all too soon given how much we are yet to be told of her, she departs from the story in Genesis 46:20: ‘And unto Joseph in the land of Egypt were born Manasseh and Ephraim, which Asenath the daughter of Potipherah priest of On bare unto him.’ We are then left with several points of uncertainty. Is Potipherah the same man as the ‘Potiphar’ of Genesis 37:36, the man whose amorous wife caused Joseph’s false imprisonment? If so, Aseneth must have had an embar- rassing ‘meet the parents’ moment. When or how did Aseneth die? The Bible text provides no answers on that point. Most importantly, from the perspective of Christians and Jews alike, how can it be that Joseph, a Patriarch and pious servant of God, married an Egyptian pagan? Sur- veying only the original scripture, one finds no suggestion that she ever abandoned her native religion. -
Sidelights on Teutonic History During the Migration Period
SIDELIGHTS ON TEUTONIC HISTORY DURING THE MIGRATION PERIOD M. G. CLARKE ^=00 ICO 'CO GIRTON COLLEGE STUDIES No, III GIRTON COLLEGE STUDIES EDITED BY LILIAN KNOWLES, LITT.D., READER IN ECONOMIC HISTORY IN THE UNIVERSITY OP LONDON No. 3 SIDELIGHTS ON TEUTONIC HISTORY DURING THE MIGRATION PERIOD CAMBEIDGE UNIVERSITY PEESS Edition: FETTER LANE, E.G. C. F. CLAY, MANAGER 100, PRINCES STREET Btrlin : A. ASHER AND CO. leipjifi: F. A. BROCKHAUS #efo 8orh: G. P. PUTNAM'S SONS Bambap. anH Calcutta : MACMILLAN AND CO., LTD. All rights reserved SIDELIGHTS ON TEUTONIC HISTORY DURING THE MIGRATION PERIOD BEING BY M. G. CLARKE, M.A. Cambridge : SEEN BY at the University F ress 1 PRESERVATION 191 SERVICES \\ PR SI PRINTED BY JOHN CLAY, M.A. AT THE UNTVEKSITY PRESS PREFACE following chapters are the outcome of two periods THEof stud}7 undertaken during the tenure of research scholarships awarded by Girton College, and form an attempt to discover the amount of historical truth under lying the allusions to persons and events in the Old English heroic poems. The essay deals with an aspect of these poems, which I has not, so far as know, been treated systematically by- anyone who has previously written on the subject. Thus, in the absence of any model, I have had to work on independent lines, especially as regards the grouping and arrangement of different traditions, and the method of discussion followed in the several chapters. The actual arrangement has been adopted for convenience of discus sion, according to the nationality of the persons concerned, except in cases where a particular section forms a complete epic narrative with a personal (as opposed to a national) interest of its own: in these cases the tradition has been discussed under the heading of the poem in which it is contained, or that of the character round whom the narrative centres.