DOCSLIB.ORG

35219 Instructions EN (.Pdf)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

INSTRUCTIONS X-RAY VISION To start take your three balls and the magic box in your magic box set. Ask someone to choose one of the balls without telling you which one and then to place their chosen ball inside the box, and to put a lid on it. Your eyes should be closed. You then say you are going to guess the colour chosen. Place the closed box behind your back and repeat the same trick as in “A Magical Guess”. Bring the fully closed box back to the audience and tell them what colour the ball is. A BALL FROM NOWHERE Make a ball appear from nowhere! Place a ball in your hand with your back towards the audience. Draw an imaginary ball into the air with the forefinger of your left hand; with the fingers of the right hand extended and the back of the hand towards the audience, pretend that you catch the imaginary ball. Actually what you do is to put the hand in first, over the hidden ball. Say the words “Abracadabra”! Open your hand and show the audience that the imaginary ball is now real. CARDWARP Start by placing a card, flat on the back of your palm. You can cause the card to warp in front of your audience’s eyes! Now, rub your hands together, making sure you rub the back of your hands too. You are secretly trying to generate heat as much as possible. Now before you place the card on top of your hand you need to moisten the back of your hand with a bit of saliva. Pretend to be wiping your nose with the back of your hand, while licking it in the process. The warmth from your hand and the saliva will cause the card to warp naturally! The warmer and wetter the faster the warping. ACE SHAKER Someone from the audience signs a card and makes their card appear in between two aces. To start, give a member of the audience two red aces and tell them to hold them. Fan out the deck and tell them to touch a card. Square the deck up leaving their card stuck out to be signed and shown. Secretly put the card hidden into “palm position” when you square up the deck so you can easily palm the card when you want to. It must stick out of the lower corner of the pack, meeting your inner thumb. Let them sign the card and then hand them the deck, secretly palming their card. After they are convinced that the card is lost within the deck, ask for the two aces and sandwich the face down palmed card between the aces, showing only the aces face up. Tell them to hold the deck openly and start to shake the aces directly over the pack. Tell them to watch their card rise from the deck into the two aces. MAGIC CARDS Choose a small amount of cards you feel comfortable holding. Hold the edge of the pack with your fingers and use your thumb to peel the top card. Keep the back of your palm faced towards the audience. Continue using your thumb to move the card up to the audience’s view; held between the thumb and forefinger. At the same time as you are pulling out the card, your hand should be pushed forward slightly, as if the card has been grabbed from thin air. Continue to pull cards from the air in this manner, throwing up each card to the audience before producing the next card. THE THREE MUSKETEERS Remove the four Jacks from your deck of cards and place one of the Jacks face down on the top of the pack. Start the trick by presenting the other three Jacks as the three Musketeers and stating they must always be together. Now ask someone in the audience to place a Jack on top of the pack and one Jack anywhere in the middle and the last Jack on the bottom of the pack. Get the audience member to cut the pack and put the bottom half of the top and bottom jacks together with previously placed Jack. The cards are then turned face up from the top of the pack, eventually showing the three Jacks together near the centre to the audience’s amazement. TOE-TALLY MAGIC Take a large towel then take off your shoes. Next, fold the towel at the top over your hands so when held against yourself at chest height only your ankles can be seen. Slowly lower your towel so you can’t see your feet. Lift the towel up to show both feet whilst keeping both feet together. Now lower the towel and bend one of your legs 90 degrees. Lift the towel up again and it will miraculously seem that one of your legs have disappeared! THE SECRET NUMBER To start you will need one deck of cards. Give the cards to a member of the audience and have the member fan out the cards, they should select a card but keep it in the pack. Now have them count over from the RIGHT to the selected card. This will form their secret number. Have them close the pack and hand it back to you. Move 4 cards at a time from the bottom of the pack. Give the cards to another member of the audience. Have the first member tell the second what the secret number was. Have the second member move cards one at a time from the bottom to the top counting until the secret number is reached. Take the cards back and pretend you are shuffling them, but just for show. Give the cards back to the second member and tell him to take the top card and put it on the bottom. He should then take the next top card and put it on the table. Take the next top card after that and put it on the bottom pile. Tell him to continue alternating this way until there is only one card left, which should be the selected card. INVISIBLE MAGIC CHICKEN Tie a thin piece of thread (approximately 38cm long) around the middle of the egg, right in the middle where the halves meet. Take the piece of cloth and have an adult sew the untied end of thread to the middle of the cloth. Make sure that the colour of the thread matches the piece of cloth provided! Hold the cloth with both hands, one hand on each top corner. The egg should now hang down behind the cloth and out of sight. Wrap the egg inside your piece of cloth and then into the compartment at the bottom of the hat. Show the audience the empty hat and place it on a table. Carefully open the flap by tilting the hat on its side. Pull out the piece of cloth. Let the egg hang down so that it stays inside your hat while you pull the cloth out. Show the empty piece of cloth. MAGIC SPOON BENDING Firstly you will need a spoon. Using both hands hold the spoon and gently press the round part of the spoon on to the top of a flat surface. One hand should be holding the handle of the spoon so that it is completely covered. Slowly let the handle slide through your hands until it cannot slide through your hand any further. This creates the illusion that your spoon is being bent. COIN CASCADE For this trick you will need your hat and some spare coins. Place the coins in the secret compartment in the bottom of the hat. Do this quietly and tilt the hat towards your audience. Tap on the brim with your wand and say abracadabra! Turn the hat over and pour out the coins inside. MAGIC ROPE Tie a small piece of rope loosely around the centre of a longer piece of rope. Next, tie the two ends of the long piece of rope to the two ends of the short piece of rope so that it looks like two long pieces of rope knotted together in the middle. Pick up the knotted ropes and explain how there are two ways to make these short ropes into one long rope. The first is untying the ends (undo the real knotted ends of the long rope). At the same time, say how that is going to leave a knot in the middle! Wind the rope around your hand up to the shorter piece in the middle, hold it and push it along the length so that it slips off the end of the rope. Now reach into your pocket leaving a little bit of rope hanging out. Take your magic wand, wave it over your pocket and shout abracadabra. Take it out to reveal how the rope is magically in one long piece. THE FRENCH DROP If you want to look like a professional magician you could vanish the ball in your hands using a technique called ‘The French Drop’. Grasp the ball between the fingers and thumb of your left hand. With your right hand stretched out as if you are going to grab the ball. Your right thumb goes behind the ball and your right fingers begin to curl around it. When the ball is covered, you secretly let the ball drop down into your left hand. Shut your right hand into an unfastened fist and hold it up as your left hand (secretly hiding the ball), falls down to your left side.
Recommended publications
  • Treasures of Middle Earth

    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 Ring, the Gown, and the Apple: the Role of Magical Objects in The

    The Ring, the Gown, and the Apple: the Role of Magical Objects in The

    Byzantine and Modern Greek Studies 44 (2) 244–258 The ring, the gown, and the apple: the role of magical objects in the Byzantine vernacular romance Kallimachos and Chrysorroi Rui Carlos Fonseca Universidade de Lisboa [email protected] Magical objects play an important role in the fourteenth-century Byzantine vernacular romance Kallimachos and Chrysorroi, not due to their supernatural powers, but rather in order to make the chivalric status of the romance hero stand out, inasmuch as he does not resort to any of them to achieve his goals. Keywords: Byzantine vernacular romance; Palaeologan fiction; magical objects; supernatural; heroic behaviour In Greek literary fiction, the hero is often to be found resorting to, or being granted, magical help in order to overcome difficult tasks in a quest or to slay supernatural creatures that the ordinary man cannot face. We see this in the epic warrior in his pursuit for glory and valiant deeds, in the holy man and his fight against evil, as well as in the romance hero during his chivalric adventures and wanderings in search of his beloved princess. Although magic in general, and magical objects in particular, are not recurring motifs in ancient Greek novels,1 the topic becomes prominent in Byzantine love fiction of the Palaeologan period. The two verse romances Livistros and Rodamni (mid-thirteenth century) and Kallimachos and Chrysorroi (fourteenth century) are of great importance in this respect. Palaeologan romances cover a time range from the mid-thirteenth century up to the late fifteenth, and were recited as literary entertainment in front of an elite audience from 1 Heliodorus’ Aethiopica is the exception, being the only extant ancient Greek novel where magic is to be found.
  • Complete Book of Necromancers by Steve Kurtz

    Complete Book of Necromancers by Steve Kurtz

    2151 ® ¥DUNGEON MASTER® Rules Supplement Guide The Complete Book of Necromancers By Steve Kurtz ª Table of Contents Introduction Bodily Afflictions How to Use This Book Insanity and Madness Necromancy and the PC Unholy Compulsions What You Will Need Paid In Full Chapter 1: Necromancers Chapter 4: The Dark Art The Standard Necromancer Spell Selection for the Wizard Ability Scores Criminal or Black Necromancy Race Gray or Neutral Necromancy Experience Level Advancement Benign or White Necromancy Spells New Wizard Spells Spell Restrictions 1st-Level Spells Magic Item Restrictions 2nd-Level Spells Proficiencies 3rd-Level Spells New Necromancer Wizard Kits 4th-Level Spells Archetypal Necromancer 5th-Level Spells Anatomist 6th-Level Spells Deathslayer 7th-Level Spells Philosopher 8th-Level Spells Undead Master 9th-Level Spells Other Necromancer Kits Chapter 5: Death Priests Witch Necromantic Priesthoods Ghul Lord The God of the Dead New Nonweapon Proficiencies The Goddess of Murder Anatomy The God of Pestilence Necrology The God of Suffering Netherworld Knowledge The Lord of Undead Spirit Lore Other Priestly Resources Venom Handling Chapter 6: The Priest Sphere Chapter 2: Dark Gifts New Priest Spells Dual-Classed Characters 1st-Level Spells Fighter/Necromancer 2nd-Level Spells Thief / Necromancer 3rd-Level Spells Cleric/Necromancer 4th-Level Spells Psionicist/Necromancer 5th-Level Spells Wild Talents 6th-Level Spells Vile Pacts and Dark Gifts 7th-Level Spells Nonhuman Necromancers Chapter 7: Allies Humanoid Necromancers Apprentices Drow Necromancers
  • Medieval Magic

    Medieval Magic

    Chapter 2 Medieval Magic Sophie Page In the early Middle Ages people used and feared magic for the same reasons they used or feared any other sacred ritual: magic was thought to strengthen or sever relationships between people, to overcome material obstacles, and to spread good or evil by protecting a community or introducing sickness and death. But magic was the name given to a class of inappropriate sacred rituals, which were excluded from normative Christian practice. Magical activities used objects and language that were not obviously part of Christian material culture or the liturgy, or in ways, or for purposes, which made Churchmen uneasy. An unauthorised sacred ritual was thought to express its practitioner’s ignorance of appropriate sacred forms, adherence to heathen practice or association with the Devil. The heartlands of Western Europe had been Christianized in the fifth and sixth centuries, and Christendom continued to expand into pagan lands in Europe. In these newly converted pagan lands the beliefs and practices of Christians were scrutinized constantly; as earlier beliefs and practices began to disappear in favour of Christianity, some fragments of their mythology and ritual survived in magical sources, detached from their belief systems but still ascribed some kind of power. In a tenth-century manuscript, a “Nine-Herbs Charm” to combat poison and infection includes an invocation to Woden (Odin); its user may have known nothing about the pagan god, but may still have accepted that it was a powerful name to invoke. Practitioners also responded to the spread of Christianity by replacing pagan sources of power with Christian ones: an early medieval Germanic spell to heal a lame horse has Balder’s horse being injured and the god Woden healing it, but in later versions it is Christ who heals his own horse.
  • Iron, Steel and Swords Script

    Iron, Steel and Swords Script

    Wagner's "Der Ring des Nibelungen" (The Ring of the Nibelung) Background The Ring of the Nibelung (or "The Ring" for short) is a sequence of four closely connected operas and one of the most remarkable pieces of art. Richard Wagner (1813–1883) is the guy who made it. He not only composed the music but also wrote the libretto (= text of an opera) and directed first performances in a opera theatre he had built to his specification in Bayreuth, Bavaria. Mad King Ludwig II of Bavaria was the sucker who paid for all that. With his support of Wagner (who had expensive tastes) and his other extravagances (e.g. building the Neuschwanstein "Fairy Tale" castle plus two others like it) he all but ruined the state finances of Bavaria. This was frowned upon then but today we profit. His Illustration dream castles provide an inexhaustible source of income from millions of tourists every year. More important, without Ludwig there would be no "Ring", "Tristan", Meistersinger" and so on. Thank you, Ludwig! The "Ring" consists of four operas, always played on different days. We have: 1. The Rhine Gold. ("Das Rheingold"). Goes on for about 2½ hours without a break. 2. The Valkyrie. ("Die Walküre"). About 4 hours, not counting the 2 breaks. 3. Siegfried. Also about 4 hours not counting 2 breaks. 4. Twilight of the Gods. ("Götterdämmerung") Around 5 hours, 2 breaks. Ihe "Ring" has a lot in common with the "Lord of the Rings". Both tell one continuous tale but are too long for just one opera or movie.
  • Bild Und Schrift Auf ‚Magischen' Artefakten

    Bild Und Schrift Auf ‚Magischen' Artefakten

    Bild und Schrift auf ‚magischen‘ Artefakten Materiale Textkulturen Schriftenreihe des Sonderforschungsbereichs 933 Herausgegeben von Ludger Lieb Wissenschaftlicher Beirat: Jan Christina Gertz, Markus Hilgert, Hanna Liss, Bernd Schneidmüller, Melanie Trede und Christian Witschel Band 19 Bild und Schrift auf ‚magischen‘ Artefakten Herausgegeben von Sarah Kiyanrad, Christoffer Theis und Laura Willer ISBN 978-3-11-060162-6 e-ISBN (PDF) 978-3-11-060433-7 e-ISBN (EPUB) 978-3-11-060492-4 ISSN 2198-6932 Dieses Werk ist lizenziert unter der Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International Licence. Weitere Informationen finden Sie unter http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2018941194 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2018 Kiyanrad et al., publiziert von Walter de Gruyter GmbH, Berlin/Boston Dieses Buch ist als Open-Access-Publikation verfügbar über www.degruyter.com. Einbandabbildung: P. Heid. Inv. Kopt. 679 © Institut für Papyrologie, Universität Heidelberg, Foto: Elke Fuchs Satz: Sonderforschungsbereich 933 (Jessica Dreschert), Heidelberg Druck und Bindung: CPI books GmbH, Leck www.degruyter.com Vorwort Der vorliegende Band beinhaltet Beiträge, die auf einem interdisziplinären Workshop des Sonderforschungsbereichs 933 Materiale Textkulturen – Materialität und Präsenz des Geschriebenen in non-typographischen Gesellschaften an der Ruprecht-Karls-Uni- versität Heidelberg am 19. Juli 2013 am Ägyptologischen Institut vorgestellt wurden. Ausgerichtet wurde der Workshop mit dem Titel „Methodische Reflexionen zum Spannungsverhältnis zwischen magischem Text und Bild“ von den MitarbeiterInnen des Teilprojekts A03 „Materialität und Präsenz magischer Zeichen zwischen Antike und Mittelalter“ Sarah Kiyanrad, Christoffer Theis und Laura Willer.
  • Arcanist Own Magical Soul and Power

    Arcanist Own Magical Soul and Power

    do not have one to understand. The Inanimagus is an object infused with a portion of the Arcanit's Arcanist own magical soul and power. It is not truly a Reworked DnD 5e; alternate class. Potential separate being, but it a part of themselves replacement for both Wizard and Sorcerer separated. THE ARCANIST There are several forms of Inanimagus, each with You are a mystic scholar and combined with your its own advantages. From a rulebook perspective, Inanimagus, you have great magical power. the Inanimagus functions as an Arcane Focus but with extra benefits. CLASS FEATURES As a Arcanist, you gain the following class Command Inanimagus features While not holding their Inanimagus, the Arcanist has little magical ability beyond casting cantrips. HIT POINTS However they can command the Inanimagus as a Hit Dice: 1d6 per wizard level free action. This allows the object to move under Hit Points at 1st Level: 6 + your Constitution its own power for a moment, either related to its modifier physical form or as a small 'hop', usually to return Hit Points at Higher Levels: 1d6 (or 4) your to its users hands. Ring Inanimagus can roll across st Constitution modifier per wizard level after 1 the ground with supernatural longevity and accuracy, as well as easily slip off a finger of a foe, PROFICIENCIES or tighten itself so it is nearly impossible to Armor: None remove. Weapons: Daggers, darts, slings, quarterstaffs, light crossbows Inanimagus Types Tools: None Each magical item focus of the Arcanist gives Saving Throws: Intelligence, Wisdom different advantages based on its construction and Skills: Choose two from Arcana, History, Insight, function, but each also influences spellcasting.
  • Bulfinch's Mythology the Age of Fable by Thomas Bulfinch

    Bulfinch's Mythology the Age of Fable by Thomas Bulfinch

    1 BULFINCH'S MYTHOLOGY THE AGE OF FABLE BY THOMAS BULFINCH Table of Contents PUBLISHERS' PREFACE ........................................................................................................................... 3 AUTHOR'S PREFACE ................................................................................................................................. 4 INTRODUCTION ........................................................................................................................................ 7 ROMAN DIVINITIES ............................................................................................................................ 16 PROMETHEUS AND PANDORA ............................................................................................................ 18 APOLLO AND DAPHNE--PYRAMUS AND THISBE CEPHALUS AND PROCRIS ............................ 24 JUNO AND HER RIVALS, IO AND CALLISTO--DIANA AND ACTAEON--LATONA AND THE RUSTICS .................................................................................................................................................... 32 PHAETON .................................................................................................................................................. 41 MIDAS--BAUCIS AND PHILEMON ....................................................................................................... 48 PROSERPINE--GLAUCUS AND SCYLLA ............................................................................................. 53 PYGMALION--DRYOPE-VENUS
  • Library and Computer Activities Online

    Library and Computer Activities Online

    Hance Elementary School Focus on Learning for Every Student Every Day Week Of: May 18 - May 22, 2020 Teacher Name: Kevin McKinney Library and Computers K-3 Date/time learning Detailed plans available on Mr. McKinney’s library page *AASL Library Standards opportunities via the Hance website. (Pine-Richland School District K-3 Library Curriculum) shared with Mr. McKinney’s Teacher Website: https://www.pinerichland.org/Page/8713 families: ________________________________________________________________________________________________________________________ LIBRARY LESSONS/ACTIVITIES COMPUTER LESSONS/ACTIVITIES (Grades K-3) GRADE K Learning Goals: Students will become familiar with the Learning Goals: Students in Kindergarten and Grade 1 will Learning Goal: well-known children’s author and illustrator, Tomie de have practice in using a computer’s mouse, touch screen or ​ Paola. touch pad in order to manipulate and create a variety of objects using the website, www.abcya.com. Students will understand that a “folktale” is a story that ​ ​ has been told over and over again through generations in a family and culture usually told out loud in the oral tradition. Students will understand the differences between the Caldecott Award and the Caldecott Honor (First place winning book vs. runner-up). Students in Grades 2-3 will have continued practice with programming, computer coding skills. Students will choose directional arrows in order for the robot to reach the end FolktaleS destination. *I.A.1 ​ I.A.2 I.C.1, I.C.2 Learning Activity: Learning Activities: (Author & illustrator, Tomie de Paola Grade K and the Caldecott Honor award) Learning Activities: First explain that children’s books that have animals as the main characters are considered “fantasy” stories.
  • Chapter Five ROSALEEN NORTON's MAGICAL PRACTICE

    Chapter Five ROSALEEN NORTON's MAGICAL PRACTICE

    Chapter Five ROSALEEN NORTON’S MAGICAL PRACTICE Details of Norton’s approach to ritual magic can be gleaned from a range of magazine articles published, for the most part, during the 1950s and 1960s, several of them autobiographical, others written by journalists fascinated by Norton’s persona as ‘the Witch of Kings Cross’.1 There is also data from court hearings and police interviews associated with controversial photographs seized by NSW Vice Squad police in 1955 which showed Norton and Greenlees engaged in what were claimed to be ceremonial rites dedicated to Pan. In addition, there is a small amount of television documentary material2 and photographic documentation (both published and unpublished) to supplement the data provided by Norton herself, both in interviews and autobiographical articles.3 Finally, and not insignificantly, copies of extant unpublished letters written by the distinguished musician Eugene Goossens to Rosaleen Norton describe their shared interest in sex magic and paganism and provide important insights into the activities of Norton’s inner magical circle. The various aspects of Norton’s magical practice can be summarised as follows: a) Individual trance-magic episodes during which Norton sought to venture forth on the ‘astral planes’ in a state of mental dissociation induced by self- hypnosis. It was while on these trance journeys that Norton claimed to encounter the ‘god-forms’ of the principal deities in her magical pantheon. b) Sex magic activities with members of her magical coven, based substantially on practices derived from the magical writings of Aleister Crowley. c) Ritual magic invocations and other ceremonial activities which included improvised elements from Kundalini Yoga, Left-Hand Path Tantra and voodoo.
  • The History of the Unseen from Plato to Particle Physics PDF Book

    The History of the Unseen from Plato to Particle Physics PDF Book

    INVISIBLE: THE HISTORY OF THE UNSEEN FROM PLATO TO PARTICLE PHYSICS PDF, EPUB, EBOOK Philip Ball | 336 pages | 30 Jul 2015 | Vintage Publishing | 9780099590439 | English | London, United Kingdom Invisible: The History of the Unseen from Plato to Particle Physics PDF Book Your local Waterstones may have stock of this item. At times, I had to restart chapters just to see what I was reading about, or what each thing discussed had to do with the others. However some chapters feel weightless and tired, and those chapters What is so easily forgotten when legend and fable are enlisted as a charming bit of scene-setting for announcements of technological advance is that these stories are not engineering challenges set by our ancestors. In the Iliad, Zeus cloaks Hera in a 'golden cloud' unseen often blurs into unseeable so that they might lie together on top of Mount Ida without the other gods spying on them. Frodo Baggins' ring will, in the end, steal souls and reduce the bearer to a pitiful, malevolent wraith. View other formats and editions. It took me a while to get through that book, but it's good. I found this book searching for something else entirely on my library's website. Impulses like these have always been at the heart of our fascination with invisibility- it points to realms beyond our senses, serves as a receptacle for fears and dreams, and hints at worlds where other rules apply. Impulses like these have always been at the heart of our fascination with invisibility: it points to realms beyond our senses, serves as a receptacle for fears and dreams, and hints at worlds where other rules apply.

  • Introduction

    Hávamál (English translation) Introduction The present Hávamál version still lacks two kinds of commentaries. At first, I have not yet been able to include Mrs. Jackson’s brillant ideas relative to « definition lists». For two, although I indeed signaled Óðinn’s abilities to introspection, I only begin to foresee his aptitude at handling his own unconscious. C. Jung calls this aptitude ‘introversion’, a behavior as risky as shooting a self-aimed arrow. Hávamál, together with other poetry and myths will provide information to our search for ancestral and contemporary mankind’s unconscious, as described in the fourth section of this site: Modern and Old Norse Archetypes. The sections of Hávamál My feeling is that the whole of Hávamál is one solid buidling (be it built by one or several poets) that links together a collection of relatively small units dealing with manifold aspects of life. This explains why I found twenty rooms available in the poem. What I propose here is not really another translation. It is rather a commentary and a discussion of its possible meanings. This discussion is more properly an attempt at a reconstruction of the several meanings that this text could carry for a Heathen of the, say, tenth century. As in any other reconstruction, humility is in order here since we are simply doing our best to reconstruct as honestly as we are able to. This approach often leads to see Hávamál under a new light the four main directions of which are as follows. 1. Many stanzas allude to magic and these allusions are mostly ignored by academic translators.