DOCSLIB.ORG

The Poetic Edda (The Elder Edda) PDF Book

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Poetic Edda (The Elder Edda) PDF Book THE POETIC EDDA (THE ELDER EDDA) PDF, EPUB, EBOOK Anonymous,Benjamin Thorpe | 136 pages | 30 Jan 2010 | Digireads.com | 9781420937701 | English | United States The Poetic Edda (the Elder Edda) PDF Book The poems in the second part narrate legends about Norse heroes and heroines , such as Sigurd , Brynhildr and Gunnar. No one can tell about that tree, from what deep roots it rises. Further, famous as the vikings are, they made up a small fraction of Scandinavian society at their greatest. Other poems have been added to this canon and Larrington includes quest and other poetry. Although the Codex was written in the 13th century, the material it is comprised of may be older, as Old Norse poetry dates as far back as the 8th century. The more you read the more what you have already read makes sense. If for no other reason, this translation is remarkable for its scrupulous adherence to English words of Germanic origin - I cannot recall a single instance of finding a Greek or Latin root. Maritain or M. I also loved that they included translators notes for context, which was not only interesting and helpful, but also lets the listener know you are coming to the end of the chapters. This book is designed to offer the Havamal in a easy-to-understand and current take on the English language. Original Title. You need this book as source material for your own stories, as enjoyment for life, and as a platform upon which to build an understanding of modern stories. Not the best or the worst translation. Remove from wishlist failed. The Prose Edda , sometimes referred to as the Younger Edda or Snorri's Edda , is an Icelandic manual of poetics which also contains many mythological stories. Books whose authorship is purposefully withheld should be attributed instead to Anonymous. Learn More in these related Britannica articles:. I want to work on that next year to understand more about works such as this. This is the only book in heathenry that lays out in terms that everyone will understand how to use our faith to build a full life. Intent: To put out a fire Primary rune: Isa Supporting runes: Laguz , Naudhiz Eighth Charm I know an eighth — which no one on earth — could fail to find useful: — when hatred waxes — among warriors — the spell will soothe them. The Poetic Edda (the Elder Edda) Writer Details if other :. You'll miss the plot line but be able to see all the action unfolding. I would have preferred footnotes instead because of how important these notes are for making these poems readable. Up to three translated titles are given below, taken from the translations of Bellows , Hollander , and Larrington with proper names in the normalized English forms found in John Lindow 's Norse Mythology and in Andy Orchard's Cassell's Dictionary of Norse Myth and Legend. Add to Cart failed. It seems somewhat out of context and superfluous. Daily life among the vast majority of the North Germanic peoples was focused squarely on matters pastoral and agricultural and had little to do with this specific class of Norsemen. Filter by:. I mean, so was C. This codex, together with The Prose Edda of Snorri Sturluson , is the most important source of knowledge about the ancient Norse and Germanic mythologies and legends. Kindle Customer His added notes for each poem help add context and put the poems in perspective. Wikipedia answers this sufficiently: Poetic Edda The Poetic Edda is the modern attribution for an unnamed collection of Old Norse poems. Being familiar with Andy Orchard's handbook on Norse mythology "Dictionary of Norse Myth and Legend", and finding it to be a nice middle ground between Rudolf Simek's deeply flawed handbook and the limited scope of John Lindow's own, it was with high hopes that I waited for Andy Orchard's English translation of the Poetic Edda, or, alternately, as Orchard has chosen to go with here, the "Elder Edda". This is the only book in heathenry that lays out in terms that everyone will understand how to use our faith to build a full life. One thing struck me after the first few minutes of the audiobook that I feel needs to be put out there. The poems themselves are unattributed and the author Codex is unknown. As a whole, these poems were utterly fascinating. Often it cannot be fully understood without the knowledge of a good many other modern books. Now he turns his attention back to the source, presenting a bravura rendition of the great northern tales. On the flip side to that there was someone who seemed to used a Scottish accent slightly guessing that's what it was , which felt very out of place. But, as Yogi Berra remarked in a slightly different context, even imperfect translations of the Edda are good. From the earlyth century onwards it has had a powerful influence on later Scandinavian literatures - not only through its stories, but also through the visionary force and the dramatic quality of many of the poems. I'll do a more proper review of this when I gather some more thoughts. Third, religious beliefs and practices are hardly ever static. What I love the most about Norse literature and mythology is that the gods are all incredibly Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Opinions differ on the best way to translate the text, on the use or rejection of archaic language, and the rendering of terms lacking a clear English analogue. The narrator fit the atmosphere perfectly and of course Norse Mythology is very interesting. All stars 5 star only 4 star only 3 star only 2 star only 1 star only. It consists of a prologue and three parts. There doesn't seem to be a single version, but all versions draw from the Codex Regius. In fact, short of Ursula Dronke's unavailable translation s , a superior alternative does not come to mind. Give Feedback External Websites. More filters. Neckel, Gustav ; Kuhn, Hans, eds. Young University of California Press, , p. La Farge, Beatrice; Tucker, John, eds. The Poetic Edda (the Elder Edda) Reviews These are, respectively, Scandinavian, German, and Gothic in origin. Crawford excels at distilling, summarizing, and then delivering vast amounts of unusual and unfamiliar information understandably and engagingly. Want to Read saving…. The poems constitute what may be termed "Eddaic poetry" as opposed to the more complex " skaldic poetry ". Really, go find it on the internet and read it. Let us know if you have suggestions to improve this article requires login. Its purpose was to enable Icelandic poets and readers to understand the subtleties of alliterative verse , and to grasp the mythological allusions behind the many kennings that were used in skaldic poetry. Crawford isn't pronouncing anything incorrectly. Preview — The Poetic Edda by Unknown. I know a fourth: — if I should find myself — fettered hand and foot, — I shout the spell — that sets me free, — bonds break from my feet, — nothing holds my hands. Neil Gaiman has long been inspired by ancient mythology in creating the fantastical realms of his fiction. Anyway, a minor gripe, but it needs to be pointed out. If you know their stories or are at a much later point of piecing together how they relate to each other, a single list is incredibly helpful to have. I've been waiting for this audio book to come out and I have to say I'm glad I purchased it Jackson Crawford is a very knowledgeable professor which makes this book even more creditable and worth the buy I'm only half way through it and will probably relisten to it again since something's escape me over all good quality and good tone I've already shared this book with two others, skal! Add to Cart failed. It consists of a prologue and three parts. Skim a little ahead and you should see it. If I look back, I recall nine worlds, nine wood-witches, that renowned tree of fate below the Earth Ymir struck camp when time began. It also includes some poems …more These are poems about the Norse gods. Now he turns his attention back to the source, presenting a bravura rendition of the great northern tales. I was surprised to find that the heroic second section of the Edda overlaps a lot with The Saga of the Volsungs : again, it mostly narrates the stories of the last men of the Volsung dynasty. To see what your friends thought of this book, please sign up. Luke or St. Dec 07, Eric Tanafon rated it liked it. Trivia About The Poetic Edda. Frequently asked questions. Details if other :. Therefore it is not known exactly who made the poems and when — only from The Prose Edda we know that Snorri Sturluson wrote them down. The Elder Edda is a book of mythological stories of the Norse gods and goddesses and it is in here where we first see Odin learn about the runes. On the flip side to that there was someone who seemed to used a Scottish accent slightly guessing that's what it was , which felt very out of place. I'll do a more prope "Wits are needful for someone who travels widely, anything will do at home; he becomes a laughing-stock, the man who knows nothing and sits among the wise. The Poetic Edda (the Elder Edda) Read Online They brought me no bread, no horn to drink from, I gazed toward the ground.
Load more

Recommended publications
  • 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 ...................................................
    [Show full text]
  • Beowulf Themes
    Wednesday, November 12, 2014 • Do now: In your notebooks, answer the following prompt: –What is a hero? Explain your definition and give examples. Thursday, November 13, 2014 • Do now: In your notebooks, answer the following prompt: –What is courage? How would most people today define courage? Beowulf Themes • Good vs Evil • Violence • Identity • Courage • Strength and • Mortality Skill • The • Wealth Supernatural • Religion • Traditions & Customs Beowulf Motifs/Symbols • Motifs • Symbols –Monsters –The Golden –The Oral Torque Tradition (Rewards) –The Mead –The Banquet Hall (Celebration) Beowulf Author • Very little is known about the author –Male –Educated –Upper Class –Anglo-Saxon / Christian Beowulf Information • Poem was composed (created) in the 8th century – Although it is English in language and origin, the poem does not deal with Englishmen, but their Germanic ancestors (Danes & Geats) – The Danes are from Denmark & the Geats are from modern day Sweden Beowulf Info (cont’d) • Some of the original poem was destroyed in the Ashburnham House Fire, causing a number of lines to be lost forever (1731) • The poem is circular in that it starts out with a young warrior, he grows old, another young warrior saves the day, etc. (comes full circle) Beowulf Info (cont’d) • Beowulf’s people are the Geats • Hrothgar’s people are the Danes • Beowulf reigned as king for 50 years • According to legend, Beowulf died at the age of 90 years old • Beowulf takes place in Scandinavia Beowulf’s Origin So why wasn’t it written down in the first place? This story was probably passed down orally for centuries before it was first written down.
    [Show full text]
  • Old Norse Gods and Heroes”
    MEDI 360 (F01) 2006 Selected Topics in Medieval Culture: “Old Norse Gods and Heroes” David Strong Building - Required Texts C108 T. W. F: 1:30 - 2:20 1. Edda 2. The Poetic Edda Instructor: P. A. Baer 3. Nordic Religions.in Office: Cle C153 the Viking Age Office phone: 721-5484 4. Eyrbyggja Saga 5. The Saga of the. Office hours: Volsungs T. W. F: 2:30 - 3:20 Coursepack Email: [email protected] Reserve Texts Course Description This course will provide an overview of the myths, religious beliefs, and heroic traditions of the Vikings up to and including their conversion to Christianity. Primary sources will be studied (in English translation) to provide an understanding of how this knowledge has been preserved and the inherent biases of such material. We will read introductory excerpts from non-Germanic sources including Tacitus and Ibn Fadlan. The major focus of the course, however, will be on medieval Scandinavian sources such as Saxo Grammaticus, Snorri Sturluson, the Icelandic Poetic Edda, and several Icelandic sagas. Examples drawn from archeological artifacts, art works, and movies will also be discussed. Course Objectives 1. To discuss the original sources that preserve knowledge of Norse mythology. 2. To consider concepts and theories relevant to mythological sources. 3. To discuss the Norse world view and religious practices. 4. To examine tensions inherent in the conversion to Christianity. 5. To explore how this mythology has been used in the past and the present. Course Outline for Fall 2006 Texts: NR = Nordic Relgions; SE = Snorri’s Edda; PE = Poetic Edda; SV = Saga of the Volsungs; ES = Eyrbyggja Saga; CP = Coursepack; CWeb = Course webpage Week 1: Sept.
    [Show full text]
  • 1 Social and Linguistic Setting of Alliterative Verse in Anglo-Saxon and Medieval England
    Cambridge University Press 0521573173 - Alliteration and Sound Change in Early English - Donka Minkova Excerpt More information 1 Social and linguistic setting of alliterative verse in Anglo-Saxon and Medieval England The primary goal of this study is to establish and analyze the linguistic prop- erties of early English verse. Verse is not created in a vacuum; a consideration of some non-structural factors that could influence the composition of poetry is important for our understanding of its linguistic dimensions. This chapter presents a brief overview of the social and cultural conditions under which alliterative verse was produced and enjoyed in Anglo-Saxon and Medieval England. 1.1 The Anglo-Saxon poetic scene Verse composition was a foremost outlet of creativity and a cherished form of entertainment, moral edification, and historical record keeping for the Anglo- Saxons. When the Northumbrian priest and chronicler Bede (b. 672/673– d. 735) wrote his Ecclesiastical History of the English People in Latin, the poetic rendition of important themes and events in the vernacular must have already been a highly prestigious undertaking. Bede tells us how Cadmon, an illiterate shepherd, found his inability to sing in company shameful. In a dream a stranger appeared urging him to sing the song of the Creation and he uttered “verses which he had never heard.” He was then taken to the monastery at Whitby where his divine poetic gift was tested and confirmed. He spent the rest of his life as a layman in the monastery, enjoying the fellowship of the abbess and the learned brethren, and composing more religious poetry.
    [Show full text]
  • Eomer Gets Poetic: Tolkien's Alliterative Versecraft James Shelton East Tennessee State University, [email protected]
    Journal of Tolkien Research Volume 5 | Issue 1 Article 6 2018 Eomer Gets Poetic: Tolkien's Alliterative Versecraft James Shelton East Tennessee State University, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the Literature in English, British Isles Commons Recommended Citation Shelton, James (2018) "Eomer Gets Poetic: Tolkien's Alliterative Versecraft," Journal of Tolkien Research: Vol. 5 : Iss. 1 , Article 6. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol5/iss1/6 This Conference Paper is brought to you for free and open access by the Library Services at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Shelton: Eomer Gets Poetic: Tolkien's Alliterative Versecraft The fact that Tolkien had an affinity for Old English and, therefore, Old English impacted his writing style are two contentions which are variously argued and proven throughout Tolkien scholarship. They are well supported enough that they need not be rehashed here, see Shippey, Flieger, Higgins, et passim. It is enough for this investigation into Tolkien's use of Old English alliterative verse to note his penchant for leaning heavily on such forms as he enjoyed, and had a professional interest in, is widely accepted in Tolkien scholarship. Additionally, it should be mentioned that Tolkien's use of Old English seems to be at its peak with the Riders of Rohan. In fact, to paraphrase Michael Drout, the Riders of Rohan are Anglo-Saxons except they have horses.1 Additionally, it has been stipulated that the Riders of Rohan use a specific dialect of Old English known as Mercian.
    [Show full text]
  • Nerthus, That Is, Mother Earth
    Odin’s Wife: Mother Earth in Germanic Mythology SAMPLE CHAPTER © 2018 William P. Reaves II. Nerthus, that is, Mother Earth “Tacitus’ much-quoted account in Germania ch. 40 of the ceremonies related to the goddess Nerthus in the area around Schleswig-Holstein or Jylland is of particular interest here for several reasons. First of all, it suggests that the images of the Bronze Age petroglyphs depicting the hieros gamos and processions related to a fertility deity had parallels in southern Scandinavia as late as AD 100, when Tacitus wrote his account. Secondly, it provides the first reliable evidence that the ceremonies were now associated with a named goddess, who must therefore have had her own mythology and background. This in turn implies that enacted rituals to do with the goddess probably had a mythological parallel.” —Terry Gunnell, The Origins of Drama in Scandinavia, (1995), p.53. In literature, Terra Mater (Mother Earth) first appears as a distinct figure of the old heathen religion in the Germania. Despite intense scholarly debate over the motivations of its author, Germania, written by the Roman historian Tacitus around 98 AD, was probably intended as an accurate account of the customs and conditions of the Germanic tribes who posed a threat on the northern border of the Roman Empire for several hundred years. While his moral observations of the Germanic tribes in contrast to the Roman way of life have led some scholars to propose that this was his chief aim in writing it, this is not sufficient as a general interpretation of the text.1 Not only does Tacitus criticize the Germanic way of life almost as often as he praises it, but much of the material has nothing to do with moral issues and cannot be explained simply as filler.
    [Show full text]
  • Thor's Return of the Giant Geirrod's Red-Hot Missile Seen in a Cosmic Context
    Thor’s Return of the Giant Geirrod’s Red-Hot Missile Seen in a Cosmic Context EMILY LYLE University of Edinburgh Abstract Discussion of the specific episode is preceded by a brief presentation of current theory concerning Indo-European myth in its cosmological framework to provide context. In the cosmological view sketched by Michael Witzel inThe Origins of the World’s Mythologies, the hero/young god must engage in a series of feats to create the conditions for human life to flourish. I have suggested that the conditions before the hero’s actions in the Indo-European context are envisaged as the extremes: too close; too hot; too dry; and too wet. It is argued that this particular threat is ‘too hot’ and comes from a giant figure who is one of the old gods, probably identifiable as Odin. When Geirrod throws a red-hot missile at Thor, Thor catches it and kills the giant when he sends it back. The related stories of Thor’s visit to Utgarthaloki and Thorstein’s visit to Geirrod are also treated, and attention is drawn to Welsh and Irish parallels which make an equivalence between thrown weapon and destructive gaze. It is suggested that the story may culminate in the motif of eye as star found separately. Keywords: Edda, giants, Indo-European cosmology, Odin, Old Norse mythology, Thor In order that the proposed cosmic interpretation of the specific episode of Thor’s return of Geirrod’s missile can be received and considered, it may be helpful to provide preliminary notes on the whole cosmological approach now available to scholars.
    [Show full text]
  • Introduction Carolyne Larrington
    Cambridge University Press 978-1-107-13544-4 — A Handbook to Eddic Poetry Edited by Carolyne Larrington , Judy Quinn , Brittany Schorn Excerpt More Information Introduction Carolyne Larrington In the mythological eddic poem Hymiskviða the gods order the sea-ruler Ægir to entertain them all at a feast. Ægir responds with the claim that he does not possess a cauldron big enough for the purpose, and Týr and Þórr set off to find a suitable vessel at the home of Týr’s mother in Jo˛tunheimar (‘the lands of the giants’). Their success means that véar hverian vel skulu drekka o˛lðr at Ægis eitt ho˛rmeitið (‘the gods will drink well ale at Ægir’s every winter’, Hym 39/4–8). The most capacious of cauldrons is appro- priated from Hymir, whose hospitality is distinctly chilly, and brought to a hall where its contents can delight gods and elves alike. The mode of eddic poetry is just such a gigantic kettle, an all-encompassing container for the Old Norse myths and heroic legends which froth, bob, and jostle together within it, whether as substantial whole poems, fragmentary verse sequences, or single lausavísur (‘free-standing verses’). When in 1955 the English poet Philip Larkin eschewed drawing on the ‘common myth- kitty’ for the inspiration for his poems (Larkin 1955, 78), he was explicitly rejecting the recent Modernist poetic practice of employing wide-ranging cultural allusions. Yet Larkin’s metaphor for all that he refused has found resonance for those who write about traditional story. Thus, this Handbook engages closely with the ‘myth-kitty’, the shared resources of traditional knowledge that find their form within the accommodating mode of eddic poetry: the myths and legends of the Old Norse–Icelandic tradition.
    [Show full text]
  • The Visual Craft of Old English Verse: Mise-En-Page in Anglo-Saxon Manuscripts
    The visual craft of Old English verse: mise-en-page in Anglo-Saxon manuscripts Rachel Ann Burns UCL PhD in English Language and Literature 1 I, Rachel Ann Burns confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Rachel Ann Burns 2 Table of Contents Abstract 8 Acknowledgements 10 Abbreviations 12 List of images and figures 13 List of tables 17 CHAPTER ONE: Introduction 18 Organisation of the page 26 Traditional approaches to Old English verse mise-en-page 31 Questions and hypotheses 42 Literature review and critical approaches 43 Terminology and methodologies 61 Full chapter plan 68 CHAPTER TWO: Demarcation of the metrical period in the Latin verse texts of Anglo-Saxon England 74 Latin verse on the page: classical and late antiquity 80 Latin verse in early Anglo-Saxon England: identifying sample sets 89 New approach 92 Identifying a sample set 95 Basic results from the sample set 96 Manuscript origins and lineation 109 Order and lineation: acrostic verse 110 3 Order and lineation: computistical verse and calendars 115 Conclusions from the sample set 118 Divergence from Old English 119 Learning Latin in Anglo-Saxon England: the ‘shape’ of verse 124 Contrasting ‘shapes’: Latin and Old English composition 128 Hybrid layouts, and the failure of lineated Old English verse 137 Correspondences with Latin rhythmic verse 145 Conclusions 150 CHAPTER THREE: Inter-word Spacing in Beowulf and the neurophysiology of scribal engagement with Old English verse 151 Thesis and hypothesis 152 Introduction of word-spacing in the Latin West 156 Previous scholarship on the significance of inter-word spacing 161 Robert D.
    [Show full text]
  • English Alliterative Verse: Poetic Tradition and Literary History
    ENGLISH ALLITERATIVE VERSE English Alliterative Verse tells the story of the medieval poetic tradition that includes Beowulf, Piers Plowman, and Sir Gawain and the Green Knight, stretching from the eighth century, when English poetry first appeared in manuscripts, to the sixteenth century, when alliterative poetry ceased to be composed. Eric Weiskott draws on the study of meter to challenge the traditional division of medieval English literary history into ‘Old English’ and ‘Middle English’ periods. The two halves of the alliterative tradition, divided by the Norman Conquest of 1066, have been studied separately since the nineteenth century; this book uses the history of metrical form and its cultural meanings to bring the two halves back together. In combining literary history and metrical description into a new kind of history he calls ‘verse history,’ Weiskott reimagines the historical study of poetics. eric weiskott is Assistant Professor of English at Boston College. In addition to publishing widely on alliterative verse and early English literary history in journals such as Anglo-Saxon England, ELH, Modern Language Quarterly, Modern Philology, Review of English Studies, and Yearbook of Langland Studies, Weiskott is also a practicing poet. Most recently, his poems have appeared in burnt- district, Cricket Online Review, and paper nautilus. His first poetry chapbook was Sharp Fish (2008). With Irina Dumitrescu, he has co- edited a volume of essays with the working title Early English Poetics and the History of Style. cambridge studies
    [Show full text]
  • Parallels Between Old Norse Cosmogony and Eschatology1
    TEMENOS NORDIC JOURNAL OF COMPARATIVE RELIGION Temenos Vol. 57 No. 1 (2021), 103–26 DOI: 10.33356/temenos.100075 The Echo of Creation: Parallels between Old Norse Cosmogony and Eschatology1 JAN A. KOZÁK Charles University Abstract The article explores the idea of an echo, both literal and structural, that connects Old Norse cosmogony and eschatology. The motif of a bellowing sound or cry appears in cosmogony in the figure of Ymir, ‘Crier’, who is killed by the Æsir, and from his body the world is cre- ated. During the eschatological events the booming sound recurs when Heimdallr blows his horn shortly before the Æsir themselves are killed by their adversaries. A cry is also emitted by Óðinn when he sacrifices himself on the Cosmic Tree. The booming bellow is thus associated with death, especially in the context of implicit or explicit sacrifice. The structural resonance between cosmogony and eschatology is composed of a series of five motifs that reappear in the same sequence at both liminal moments. The eschatology seems to be structurally a repetition of the cosmogony, but with inverted roles: the victims are the gods, and the sacrificers are the giants, which is the inverse of the situation during the cosmogony. The present analysis sheds light on the sacrificial pattern hidden behind the two events, and helps contextualize the motif of the mighty sound that reappears at both moments in cosmic history. Keywords: Old Norse Myth, cosmogony, eschatology, sacrifice, sound, murder, creation, Heimdall, Gjallarhorn, Ymir In this article I will explore the parallels between Old Norse cosmogony and eschatology from two different but interconnected perspectives – first, by focusing on the motif of the bellowing sound or cry, and second, by focusing 1 This research was supported by the Marie Skłodowska-Curie Fellowship of the Horizon 2020 Programme at the University of Bergen, SYMBODIN project.
    [Show full text]
  • The Eddic Poem Grímnismál As a Dramatic and Mythological Unity1
    2012 ACTA UNIVERSITATIS CAROLINAE PAG. 7–35 PHILOLOGICA 1 / GERMANISTICA PRAGENSIA XXI VENI, VIDI, MORI: THE EDDIC POEM GRÍMNISMÁL AS A DRAMATIC AND MYTHOLOGICAL UNITY1 JIŘÍ STARÝ ABSTRACT The article deals with the Old-NorseLay of Grímnir, one of the mythologi- cal lays of the Poetic Edda. The first part of the article reviews the scholarly inquiries into the poem, especially the opinions on the relation between the framing epic story of the poem, which describes the capturing and torturing of the disguised god Óðinn, and the main body of the poem, which consists of enumerative stanzas depicting the Old-Norse mytho- logical world. The second part of the article analyzes the main motifs of the poem and tries to uncover their artistic and religious importance in the whole of the poem. Keywords Grímnismál, Old Norse myths, Old Norse religion, Old Norse literature Då sitter vid vår sida en gud förklädd. Hjalmar Gullberg Grímnismál, the fourth of the mythological poems of the Poetic Edda, is preserved in two manuscripts: in Codex Regius of the Poetic Edda (GkS 2365, 4to) and in the so-called Edda- fragment manuscript (AM 748, 4to). The extant poem consists of 54 stanzas of differing length and metre and of a prologue and epilogue in prose. Twenty-one stanzas – more than a third of the entire poem – are quoted (sometimes with different wording) by Snorri Sturluson in his Edda, and stanza 47 is quoted by Óláfr Þórðarson in his Third Grammatical Treatise. 1 The citations of Eddic poems in this article are taken from Jón Helgason’s edition (Eddadigte, 3 Vols., København: Ejnar Munksgaard – Oslo: Dreyer – Stockholm: Norstedt, 1955–1962).
    [Show full text]