DOCSLIB.ORG

K-12 Educator's Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

K-12 Educator’s Guide By visiting this extraordinary collection of artifacts on loan from the National Museum of Denmark combined with interactive things to do, your students will have the opportunity learn the story of how fearless explorers set sail from Scandinavian lands in search of knowledge, resources, and influence. Over a thousand years later, the legend of the Vikings persists, but the full story of their achievements is less known. During your visit, students will: • Learn about Scandinavian cultures. • See 600 artifacts from the Age of the Vikings—approximately one thousand years ago. After your visit, students will: • Think about how science and technology help us understand the past. • Understand that spiritual beliefs influence history. Quick Tips ✓ The exhibit entrance is located on the upper level of the Nicholas and Athena Karabots Pavilion. Enter the exhibit via the main Bartol Atrium. Your students will walk up a ramp for access to the exhibit. ✓ On average, most groups will spend about 60 minutes in the exhibit, if carefully examining all of the displays. Restrooms are located in the Bartol Atrium. There are no restrooms inside the exhibit. ✓ The exhibition is located in two galleries—one in the Nicholas and Athena Karabots Pavilion and the other in the Mandell Center. Midway through the exhibit, you will exit the first gallery and follow a path along a ramp to enter the second gallery. ✓ There is no gift shop located within the exhibition. The Sci-Store in the Bartol Atrium has a selection of Vikings-themed merchandise available for purchase. ✓ No food or beverages are allowed in any of the exhibit galleries. ✓ Non-flash photography is permitted in the exhibit. ✓ Running through the exhibit is not allowed. Designate a meeting location within the exhibit when you arrive in case someone gets separated. Please do not congregate at the entrance/exit, however, so as to enable other guests to enter and exit easily. How to Prepare Students should know that the artifacts on display are priceless artifacts never before seen in Philadelphia. The objects on display—especially the full-size Vikings ships—are NOT TO BE TOUCHED! While touching the artifacts is not allowed, there are several hands-on things for students to do throughout the galleries. Students should be encouraged to try all of these activities in order to enrich their learning experience. Chaperones and students should know that the museum encourages conversation around the displays and children should ask questions and discuss what they see. Museum etiquette suggests that the conversation be kept to an appropriate indoor volume level. About the Exhibit THE VIKING AGE Between 800 and 1050 CE, the pagan people of Scandinavia became known and feared throughout the world. How did these small fragmented kingdoms of Northern Europe achieve such widespread influence? Throughout the Viking Age, the centralization of power would lead to major changes in society that helped to improve the quality of life. Trade networks flourished as villages and towns developed specialized skills. Many kingdoms became three—Denmark, Norway, and Sweden—as life became more stable. With growing stability at home, Viking explorers sailed farther and wider seeking treasure and dominance. The exhibition is arranged around eight themes, each with its own section. 1. Introduction Visitors begin by watching a short video that introduces the key themes of the exhibition. 2. A Wind Age–Ships, Sails, and Sea This area showcases Viking shipbuilding, kinds of ships, life on board ship, and navigation. A key artifact to notice is the reconstruction of a Viking ship called the Joanna (pronounced Yo-Ahna). This small ship is a reconstruction of the remains of a ship found in a burial mound in Gostak, Norway. Prominent Vikings were buried in ships with prized possessions to transport them to the afterlife. The modern reconstruction was made by hand for the exhibit using original tools and wood sourced to the site of the original ship in order to make it as authentic as possible. Another artifact to notice is the Hevring Flak rudder which is 230 cm long and very well preserved. It is made of oak and has been cut from a single, solid root. Today, the right side of a ship is known as its starboard side. This practice began with the Vikings who steered their ships using a rudder placed on the right side. The steering side of the ship became known as the starboard side and eventually came to mean the right side, even on ships where the rudder was elsewhere. 3. Connecting Continents Viking raiding soon gave way to trading and exchange of resources between countries. Artifacts in this area help tell the story of how Viking travels bring stones and metals back to Scandinavian where crafters fashion complex jewelry and accessories. For example, the Øster Halne tells the story of Viking exploration. It features Arabic coins, as well as beads from a variety of European stones. 4. With the Sword in Hand Vikings were fearsome warriors known for their strength in battle. This section of the exhibit features several of their weapons. Notice the case that features a sword, shield, and a fragment of a helmet. To date, archaeologists have found just one intact Viking helmet—and it does not have horns attached! The image of a Viking wearing a horned helmet is not based on any evidence. In fact, historians credit costume designers at a European opera house for creating it in the mid-1800s. The few helmet fragments found in Viking sites suggest that few warriors wore them and also that they were used for face protection. Try It! In this section, there are swords and chainmail available for students to touch and lift. The swords are tethered to the counter, so students can just lift them slightly but enough to feel the heft of the weapon. Likewise, the chainmail is attached to a form, but students can feel the weight and imagine what it would be like to wear it. 5. Viking Way of Life What was life like in Scandinavia one thousand years ago? This section features artifacts to help answer that question. There are a few cases which show the work of the expert blacksmith who worked iron into all kinds of practical tools. An expert blacksmith could become quite wealthy and famous in Viking society. Notice the Anvil from Præstø. Anvils from the Viking Age have been found in different areas, demonstrating the importance of iron for warriors and farmers alike. Try It! There are three interactive options for students in this area: Viking Dress Up, Dress a Digital Viking, and the Norse Board Game known as Hnefatafl. (pronounced nefa-tafl) Students are welcome to try on Viking clothing. You should plan ahead as to whether or not you will allow all students to take turns doing so, select a couple of representatives to try for the group, or bypass this activity as having every student take a turn will take a considerable amount of your time. Likewise, the digital kiosk where students can dress Viking figures is available for students. Encourage them to try in small groups rather than having every student take a single turn. The strategy game Hnefatafl can easily be played in small teams. 6. King and Power This section explores how Viking social structures began to emerge over time. The ruling class depended on the support of the free people who were empowered to challenge their leadership if warranted. The vast majority of Vikings were free people— farmers, craftspeople, hunters, warriors, and merchants. The Vikings enslaved people who were captured during raids. People who were enslaved had no rights in Viking society, and supported a part of Viking economy. Notice the Women’s Jewelry on display in this section. It features silver denarius coins from western Europe, two dirhams from the Arab world, and Carnelian beads, which could have come all the way from India. The silver could have come from Afghanistan or Central Asia. The mercury used for gilding came from Spain. This jewelry surely belonged to a wealthy woman, but it also showcases the Vikings’ access to international resources. EXHIBIT MIDPOINT As you exit the first gallery, you will find a photo op where students can place their faces in Viking cutouts for fun souvenir photos. Proceed down the ramp and around the corner into the second gallery. 7. Splendour of the Seas–Roskilde 6 The centerpiece of the exhibit is the Viking longship called Roskilde 6 (pronounced Ross-keel-ee) which students will see immediately upon entering the second gallery. It is the longest Viking ship yet found. It was excavated in 1997 from Roskilde Fjord located about 25 miles from Copenhagen, Denmark. About 25% of the ship—including much of the hull and inner timber—remained intact thanks to its waterlogged condition. Scientists have traced the origin of the ship’s oak timber to Oslo and growth rings in the oak suggest the ship was built around 1025 CE and later repaired somewhere along the Baltic Sea around 1039 CE. Therefore, the ship is nearly 1,000 years old! It was built for speed and to carry 100 warriors, 78 of whom would be pulling 39 pairs of oars. The metal scaffolding or skeleton is modern. Only the wood pieces are original, authentic, 1,000 year old parts of the ship. The fact that they exist is remarkable! There is a viewing platform alongside the ship. There are two tablets for students to take turns using to see a digital visualization of the completed ship. As you point the tablet at the real ship, the tablet fills in the missing pieces and even adds digital figures to show how the warriors would have been situated.
Recommended publications
  • Old Norse Mythology — Comparative Perspectives Old Norse Mythology— Comparative Perspectives

    Old Norse Mythology — Comparative Perspectives Old Norse Mythology— Comparative Perspectives

    Publications of the Milman Parry Collection of Oral Literature No. 3 OLd NOrse MythOLOgy — COMParative PersPeCtives OLd NOrse MythOLOgy— COMParative PersPeCtives edited by Pernille hermann, stephen a. Mitchell, and Jens Peter schjødt with amber J. rose Published by THE MILMAN PARRY COLLECTION OF ORAL LITERATURE Harvard University Distributed by HARVARD UNIVERSITY PRESS Cambridge, Massachusetts & London, England 2017 Old Norse Mythology—Comparative Perspectives Published by The Milman Parry Collection of Oral Literature, Harvard University Distributed by Harvard University Press, Cambridge, Massachusetts & London, England Copyright © 2017 The Milman Parry Collection of Oral Literature All rights reserved The Ilex Foundation (ilexfoundation.org) and the Center for Hellenic Studies (chs.harvard.edu) provided generous fnancial and production support for the publication of this book. Editorial Team of the Milman Parry Collection Managing Editors: Stephen Mitchell and Gregory Nagy Executive Editors: Casey Dué and David Elmer Production Team of the Center for Hellenic Studies Production Manager for Publications: Jill Curry Robbins Web Producer: Noel Spencer Cover Design: Joni Godlove Production: Kristin Murphy Romano Library of Congress Cataloging-in-Publication Data Names: Hermann, Pernille, editor. Title: Old Norse mythology--comparative perspectives / edited by Pernille Hermann, Stephen A. Mitchell, Jens Peter Schjødt, with Amber J. Rose. Description: Cambridge, MA : Milman Parry Collection of Oral Literature, 2017. | Series: Publications of the Milman Parry collection of oral literature ; no. 3 | Includes bibliographical references and index. Identifers: LCCN 2017030125 | ISBN 9780674975699 (alk. paper) Subjects: LCSH: Mythology, Norse. | Scandinavia--Religion--History. Classifcation: LCC BL860 .O55 2017 | DDC 293/.13--dc23 LC record available at https://lccn.loc.gov/2017030125 Table of Contents Series Foreword ...................................................
  • ABSTRACT Savannah Dehart. BRACTEATES AS INDICATORS OF

    ABSTRACT Savannah Dehart. BRACTEATES AS INDICATORS OF

    ABSTRACT Savannah DeHart. BRACTEATES AS INDICATORS OF NORTHERN PAGAN RELIGIOSITY IN THE EARLY MIDDLE AGES. (Under the direction of Michael J. Enright) Department of History, May 2012. This thesis investigates the religiosity of some Germanic peoples of the Migration period (approximately AD 300-800) and seeks to overcome some difficulties in the related source material. The written sources which describe pagan elements of this period - such as Tacitus’ Germania, Bede’s Ecclesiastical History of the English People, and Paul the Deacon’s History of the Lombards - are problematic because they were composed by Roman or Christian authors whose primary goals were not to preserve the traditions of pagans. Literary sources of the High Middle Ages (approximately AD 1000-1400) - such as The Poetic Edda, Snorri Sturluson’s Prose Edda , and Icelandic Family Sagas - can only offer a clearer picture of Old Norse religiosity alone. The problem is that the beliefs described by these late sources cannot accurately reflect religious conditions of the Early Middle Ages. Too much time has elapsed and too many changes have occurred. If literary sources are unavailing, however, archaeology can offer a way out of the dilemma. Rightly interpreted, archaeological evidence can be used in conjunction with literary sources to demonstrate considerable continuity in precisely this area of religiosity. Some of the most relevant material objects (often overlooked by scholars) are bracteates. These coin-like amulets are stamped with designs that appear to reflect motifs from Old Norse myths, yet their find contexts, including the inhumation graves of women and hoards, demonstrate that they were used during the Migration period of half a millennium earlier.
  • Design, Build and Evaluate a Viking Longboat

    Design, Build and Evaluate a Viking Longboat

    History & D&T KS2 LESSON PLAN Design, build and evaluate a Viking longboat WHAT Use questioning and trial THEY’LL and error to fire imaginations LEARN and hone innovation skills, says Adam Parkhouse l About the design and shape of @parky_teaches Viking longboats l How sails have The era of the Vikings is such a rich strand of the history been used to power travel on water in curriculum, and one of my favourite subject areas to different cultures teach. There’s such depth wherever you look: from the compelling mythology to the lasting impact they had on l To use trial and error to get a modern-day Britain. This lesson focuses on the famous better result Viking longboat, renowned for its sleek design and speed in the water, and brings an opportunity to add design l How to evaluate the impact of and technology into your history lessons. It doesn’t even changes to a design need a water feature to work – your desks and floors will become the treacherous north seas to explore. MAIN LESSON START HERE 2|MAKING AND 1|LOOKING AT SAILS TESTING Before your pupils Once you’ve completed your Explain to the children they become master epic journey on the north will become sailmakers shipbuilders, take seas, it’s time to move back themselves, and learn how into the classroom and for the to evaluate and improve them outside to get pupils to become shipbuilders designs by testing and a feel of the scale of themselves. First, they need making alterations. a Viking longship.
  • Ships!), Maps, Lighthouses

    Ships!), Maps, Lighthouses

    Price £2.00 (free to regular customers) 03.03.21 List up-dated Winter 2020 S H I P S V E S S E L S A N D M A R I N E A R C H I T E C T U R E 03.03.20 Update PHILATELIC SUPPLIES (M.B.O'Neill) 359 Norton Way South Letchworth Garden City HERTS ENGLAND SG6 1SZ (Telephone; 01462-684191 during my office hours 9.15-3.15pm Mon.-Fri.) Web-site: www.philatelicsupplies.co.uk email: [email protected] TERMS OF BUSINESS: & Notes on these lists: (Please read before ordering). 1). All stamps are unmounted mint unless specified otherwise. Prices in Sterling Pounds we aim to be HALF-CATALOGUE PRICE OR UNDER 2). Lists are updated about every 12-14 weeks to include most recent stock movements and New Issues; they are therefore reasonably accurate stockwise 100% pricewise. This reduces the need for "credit notes" and refunds. Alternatives may be listed in case some items are out of stock. However, these popular lists are still best used as soon as possible. Next listings will be printed in 4, 8 & 12 months time so please indicate when next we should send a list on your order form. 3). New Issues Services can be provided if you wish to keep your collection up to date on a Standing Order basis. Details & forms on request. Regret we do not run an on approval service. 4). All orders on our order forms are attended to by return of post. We will keep a photocopy it and return your annotated original.
  • 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.
  • CMS 2018 3Rd Qtr (Pdf)

    CMS 2018 3Rd Qtr (Pdf)

    Remember Those From Whom You Came Newsletter Of The Clan MacAlpine Society The Worldwide Organization For MacAlpines 3rd Quarter 2018 ~ Volume 41 Kenneth McAlpine William McAlpin Michael McAlpin Sir William McAlpine Finn Alpin Sidney Fay McAlpin Earl Dale McAlpine Bruce McAlpine Commander’s News The Society has been very active over the summer months with events in Scotland, Canada and across the U.S. I have had the good fortune of attending many of these, and it has been my pleasure to meet so many at these events, and to enjoy their enthusiasm. Spending time in Scotland at the Shennachie event and then in the beautiful countryside was a special treat, and then on to the Kilmartin Glen where we continue to discover more about the old homesteads. Our Annual General Meeting will be held at the Stone Mountain Highland Games in October. There is an exciting venue set up for it and I look forward to seeing many of you there. By the time this newsletter is published, it will be just weeks away from November 11th. Whether referred to as Remembrance Day, Armistice Day, or Veterans Day, its origins reflect upon the 11th hour of the 11th day of the 11th month. The date and time of the armistice ending WW I, 100 years ago this year. Living in Canada in the early 1960’s, the reverence for this day was drilled into every child in every classroom. Poppies were handed out and worn. At 11:00 AM, a two-minute silence was always observed. It is fitting that we all remember those from all countries that suffered through this tragedy.
  • Viking Longship Hours

    Viking Longship Hours

    The Vikings are coming! THE VIKINGS The Vikings came from three countries, Denmark, Norway and Sweden. The name ‘Viking’ comes from a language called ‘Old Norse’ and means ‘a pirate raid’. People who went off raiding in ships were said to be ‘going Viking’. The Viking age in European history was about AD 700 to 1100. During this time many Vikings travelled to other countries, such as Britain and Ireland. Some went to fight and steal treasure. Others settled in new lands as farmers, craftsmen or traders. bbc. co.uk/handsonhistory Make a 1.5 Viking longship hours The Vikings built fast ships for raiding and war. These ships were called ‘dragon-ships’ or ‘longships’. Viking longships could sail in shallow water, so they could travel up rivers as well as across the sea. In a raid, a ship could be pulled up on a beach, the Vikings could jump out and start fighting, and then make a quick getaway if they were chased. A longship had room for between 40 and 60 men and they slept and ate on deck. There was some space below deck for stores, but no cabins. A ship carried everything needed at sea - drinking water, dried meat and fish to eat, tools and weapons, and furs to keep warm. You will need • Card at least 30cm x 20cm in size (large empty cereal boxes work well) • A small cardboard box (for example an empty teabag box) • Pencil • Ruler • Scissors • Masking tape • Coloured pens or paints • Sticky tack • Drinking straws • Glue • Fine string or thread (optional) • Coloured paper (optional) bbc.co.uk/handsonhistory THE VIKINGS Instructions 1.
  • Norse Myth and Identity in Swedish Viking Metal: Imagining Heritage and a Leisure Community

    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.
  • An Extract from Norse Mythology by Neil Gaiman the Highest and Oldest

    An Extract from Norse Mythology by Neil Gaiman the Highest and Oldest

    Odin An extract from Norse Mythology by Neil Gaiman The highest and oldest of all the gods is Odin. Odin knows many secrets. He gave an eye for wisdom. More than that, for knowledge of runes and for power, he sacrificed himself to himself. He hung from the world-tree, Yggdrasil, hung there for nine nights. His side was pierced by the point of a spear, which wounded him gravely. The wins clutched at him, buffeted his body as it hung. Nothing did he eat for nine days or nine nights, nothing did he drink. He was alone there, in pain, the light of his life slowly going out. He was cold, in agony, and on the point of death his sacrifice bore dark fruit: in the ecstasy of his agony he looked down, and the runes were revealed to him. He knew them, and understood them and their power. The rope broke then, and he fell, screaming, from the tree. Now he understood the magic. Now the world was his to control. Odin has many names. He is the all-father, the lord of the slain, the gallows god. He is the god of cargoes and of prisoners. He is called Grimnir and Third. He has different names in every country (for he is worshipped in different forms and in many tongues, but it is always Odin they worship.) He travels from place to place in disguise, to see the world as people see it. When he walks among us, he does so as a tall man, wearing a cloak and hat.
  • Norse Mythology by Neil Gaiman

    Norse Mythology by Neil Gaiman

    Norse Mythology by Neil Gaiman In Norse Mythology, Gaiman fashions primeval stories into a novelistic arc that begins with the genesis of the legendary nine worlds; delves into the exploits of the deities, dwarves, and giants; and culminates in Ragnarok, the twilight of the gods and the rebirth of a new time and people. Why you'll like it: Lyrical. Mythological. Adventure. About the Author: Neil Gaiman was born in Portchester, England on November 10, 1960. He worked as a journalist and freelance writer for a time, before deciding to try his hand at comic books. His first comic endeavor was the graphic novel series The Sandman. He writes both children and adult books. (Bowker Author Biography) Questions for Discussion 1. Talk about each of the primary gods: Odin, Thor and Loki. Consider their passions, humor, conflicts, bravery, and flaws. Which god do you find most interesting, admirable, cruel, weird, cool? Consider also Odin’s wife, Freya, and his son, Balder, as well as Tyr, the one-handed god. 2. Which of the stories do you find most engaging or funny? Are any of the stories instructive or especially tragic? What larger meanings, if any, might the other stories offer? 3. What is the role of mythology in culture? Why have all civilizations created their stories: what do myths signify? What do the Norse myths, in particular, say about the Germanic/Norse cultures...and their view of humankind? 4. Follow-up to Question #3 Does mythology, particularly Neil Gaiman’s volume have relevance today? Are they universal cautionary tales? Do they offer age-old wisdom? Or are they primarily for entertaining? 5.
  • Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia Michael David Lawson East Tennessee State University

    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
  • A Handbook of Norse Mythology

    A Handbook of Norse Mythology

    v p y 9704 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. 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.