Raven's Rune Chart
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Norse Myth Guide
Norse Myth If it has a * next to it don’t worry about it for the quiz. Everything else is fair game within reason as I know this is a lot. Just make sure you know the basics. Heimdall -Characteristics -Can hear grass grow -Needs only as much sleep as a bird -Guards Bifrost -Will kill and be killed by Loki at Ragnarok -He is one of the Aesir -Has foresight like the Vanir -Other Names -Vindhler -Means "wind shelter" -The White God As -Hallinskidi -Means "bent stick" but actually refers to rams -Gullintani -Received this nickname from his golden teeth -Relationships -Grandfather to Kon the Young -Born of the nine mothers -Items -Gjallarhorn -Will blow this to announce Ragnarok -Sword Hofund -Horse Golltop -Places -Lives on "heavenly mountain" Himinbjorg -Stories -Father of mankind -He went around the world as Rig -He slept with many women -Three of these women, Edda, Amma, and Modir, became pregnant -They gave birth to the three races of mankind -Jarl, Karl, and Thrall -Recovering Brisingamen -Loki steals Brisingamen from Freya -He turns himself into a seal and hides -Freya enlists Heimdall to recover the necklace -They find out its Loki, so Heimdall goes to fight him -Heimdall also turns into a seal, and they fight at Singasteinn -Heimdall wins, and returns the necklace to Freya -Meaning of sword -A severed head was thrown at Heimdall -After this incident, a sword is referred to as "Heimdall's head" -Possession of knowledge -Left his ear in the Well of Mimir to gain knowledge Aegir* -Characteristics -God of the ocean/sea -Is sometimes said -
How Uniform Was the Old Norse Religion?
II. Old Norse Myth and Society HOW UNIFORM WAS THE OLD NORSE RELIGION? Stefan Brink ne often gets the impression from handbooks on Old Norse culture and religion that the pagan religion that was supposed to have been in Oexistence all over pre-Christian Scandinavia and Iceland was rather homogeneous. Due to the lack of written sources, it becomes difficult to say whether the ‘religion’ — or rather mythology, eschatology, and cult practice, which medieval sources refer to as forn siðr (‘ancient custom’) — changed over time. For obvious reasons, it is very difficult to identify a ‘pure’ Old Norse religion, uncorroded by Christianity since Scandinavia did not exist in a cultural vacuum.1 What we read in the handbooks is based almost entirely on Snorri Sturluson’s representation and interpretation in his Edda of the pre-Christian religion of Iceland, together with the ambiguous mythical and eschatological world we find represented in the Poetic Edda and in the filtered form Saxo Grammaticus presents in his Gesta Danorum. This stance is more or less presented without reflection in early scholarship, but the bias of the foundation is more readily acknowledged in more recent works.2 In the textual sources we find a considerable pantheon of gods and goddesses — Þórr, Óðinn, Freyr, Baldr, Loki, Njo3rðr, Týr, Heimdallr, Ullr, Bragi, Freyja, Frigg, Gefjon, Iðunn, et cetera — and euhemerized stories of how the gods acted and were characterized as individuals and as a collective. Since the sources are Old Icelandic (Saxo’s work appears to have been built on the same sources) one might assume that this religious world was purely Old 1 See the discussion in Gro Steinsland, Norrøn religion: Myter, riter, samfunn (Oslo: Pax, 2005). -
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. -
Gylfi and Gefjon
Gylfi and Gefjon In these ancient times, Gylfi was the master (no ‘kings’ existed in Scandinavia at this time) of a large country, that we now call Sweden.Gefjon was one of the Æsir goddesses, as are the two goddesses we all know: Freyja, goddess of love, and Frigg, goddess of the hearth and home.As the god Odinn (Óðinn), she knew all of örlög (pronounce ‘ö’ as in German), i.e. everyone’s past, present and future. Our words ‘fate’ or ‘destiny’ mostly refer to the future whereas all that is ‘ourselves’ is contained in our timeless örlög. There is an unfortunate tendency to engrave in our children’s brains the view that our lives are divided into past, present and future.Each of the three is inextricably related to the other two and it is meaningful to ‘unlearn’ this engraving so as to learn how much roots and branches of each one are tangled up with those of the other two ones. She thus knew that the Æsir’s örlög called them towards the Northern realms: Odinn and her agreed of a scheme in order to shake Gylfi’s self-confidence in such way that he would not stir when they will settle in Sweden. They thought that the best way to achieve this goal was to show Gylfi how a ‘weak woman’ of the Æsir could remove an enormous territory from Sweden and him be unable to react against it. The heart of the idea was to draw a large part of Sweden nearby Denmark, where she could settle. -
Rituals for the Northern Tradition
Horn and Banner Horn and Banner Rituals for the Northern Tradition Compiled by Raven Kaldera Hubbardston, Massachusetts Asphodel Press 12 Simond Hill Road Hubbardston, MA 01452 Horn and Banner: Rituals for the Northern Tradition © 2012 Raven Kaldera ISBN: 978-0-9825798-9-3 Cover Photo © 2011 Thorskegga Thorn All rights reserved. Unless otherwise specified, no part of this book may be reproduced in any form or by any means without the permission of the author. Printed in cooperation with Lulu Enterprises, Inc. 860 Aviation Parkway, Suite 300 Morrisville, NC 27560 To all the good folk of Iron Wood Kindred, past and present, and especially for Jon Norman whose innocence and enthusiasm we will miss forever. Rest in Hela’s arms, Jon, And may you find peace. Contents Beginnings Creating Sacred Space: Opening Rites ................................... 1 World Creation Opening ....................................................... 3 Jormundgand Opening Ritual ................................................ 4 Four Directions and Nine Worlds: ........................................ 5 Cosmological Opening Rite .................................................... 5 Warding Rite of the Four Directions ..................................... 7 Divide And Conquer: Advanced Group Liturgical Design. 11 Rites of Passage Ritual to Bless a Newborn .................................................... 25 Seven-Year Rite ..................................................................... 28 A Note On Coming-Of-Age Rites ....................................... -
The Waning Sword E Conversion Imagery and Celestial Myth in Beowulf DWARD the Waning Sword Conversion Imagery and EDWARD PETTIT P
The Waning Sword E Conversion Imagery and Celestial Myth in Beowulf DWARD The Waning Sword Conversion Imagery and EDWARD PETTIT P The image of a giant sword mel� ng stands at the structural and thema� c heart of the Old ETTIT Celestial Myth in Beowulf English heroic poem Beowulf. This me� culously researched book inves� gates the nature and signifi cance of this golden-hilted weapon and its likely rela� ves within Beowulf and beyond, drawing on the fi elds of Old English and Old Norse language and literature, liturgy, archaeology, astronomy, folklore and compara� ve mythology. In Part I, Pe� t explores the complex of connota� ons surrounding this image (from icicles to candles and crosses) by examining a range of medieval sources, and argues that the giant sword may func� on as a visual mo� f in which pre-Chris� an Germanic concepts and prominent Chris� an symbols coalesce. In Part II, Pe� t inves� gates the broader Germanic background to this image, especially in rela� on to the god Ing/Yngvi-Freyr, and explores the capacity of myths to recur and endure across � me. Drawing on an eclec� c range of narra� ve and linguis� c evidence from Northern European texts, and on archaeological discoveries, Pe� t suggests that the T image of the giant sword, and the characters and events associated with it, may refl ect HE an elemental struggle between the sun and the moon, ar� culated through an underlying W myth about the the� and repossession of sunlight. ANING The Waning Sword: Conversion Imagery and Celesti al Myth in Beowulf is a welcome contribu� on to the overlapping fi elds of Beowulf-scholarship, Old Norse-Icelandic literature and Germanic philology. -
Meanings of the Elder Futhark Runes
Meanings of the Elder Futhark Runes Fehu (F: Domestic cattle, wealth.) Possessions won or earned, earned income, luck. Abundance, financial strength in the present or near future. Sign of hope and plenty, success and happiness. Social success. Energy, foresight, fertility, creation/destruction (becoming). Fehu Reversed or Merkstave: Loss of personal property, esteem, or something that you put in effort to keep. It indicates some sort of failure. Greed, burnout, atrophy, discord. Cowardice, stupidity, dullness, poverty, slavery, bondage. Uruz: (U: Auroch, a wild ox.) Physical strength and speed, untamed potential. A time of great energy and health. Freedom, energy, action, courage, strength, tenacity, understanding, wisdom. Sudden or unexpected changes (usually for the better). Sexual desire, masculine potency. The shaping of power and pattern, formulation of the self. Uruz Reversed or Merkstave: Weakness, obsession, misdirected force, domination by others. Sickness, inconsistency, ignorance. Lust, brutality, rashness, callousness, violence. Thurisaz: (TH: Thorn or a Giant.) Reactive force, directed force of destruction and defense, conflict. Instinctual will, vital eroticism, regenerative catalyst. A tendency toward change. Catharsis, purging, cleansing fire. Male sexuality, fertilization. (Thorr, the Thunder god, was of Giant stock.)Thurisaz Reversed or Merkstave: Danger, defenselessness, compulsion, betrayal, dullness. Evil, malice, hatred, torment, spite, lies. A bad man or woman. Rape? Ansuz: (A: The As, ancestral god, i.e. Odin.) A revealing message or insight, communication. Signals, inspiration, enthusiasm, speech, true vision, power of words and naming. Blessings, the taking of advice. Good health, harmony, truth, wisdom. Ansuz Reversed or Merkstave: Misunderstanding, delusion, manipulation by others, boredom. Vanity and grandiloquence. (Odin is a mighty, but duplicitous god. -
Iso/Iec 10646:2011 Fdis
Proposed Draft Amendment (PDAM) 2 ISO/IEC 10646:2012/Amd.2: 2012 (E) Information technology — Universal Coded Character Set (UCS) — AMENDMENT 2: Caucasian Albanian, Psalter Pahlavi, Old Hungarian, Mahajani, Grantha, Modi, Pahawh Hmong, Mende, and other characters Page 22, Sub-clause 16.3 Format characters Insert the following entry in the list of format characters: 061C ARABIC LETTER MARK 1107F BRAHMI NUMBER JOINER Page 23, Sub-clause 16.5 Variation selectors and variation sequences Remove the first sentence of the third paragraph (starting with ‘No variation sequences using characters’). Insert the following text at the end of the sub-clause. The following list provides a list of variation sequences corresponding to the use of appropriate variation selec- tors with allowed pictographic symbols. The range of presentations may include a traditional black and white text style, using FE0E VARIATION SELECTOR-15, or an ‘emoji’ style, using FE0F VARIATION SELECTOR-16, whose presentation often involves color/grayscale and/or animation. Sequence (UID notation) Description of sequence <0023, FE0E, 20E3> NUMBER SIGN inside a COMBINING ENCLOSING KEYCAP <0023, FE0F, 20E3> <0030, FE0E, 20E3> DIGIT ZERO inside a COMBINING ENCLOSING KEYCAP <0030, FE0F, 20E3> <0031, FE0E, 20E3> DIGIT ONE inside a COMBINING ENCLOSING KEYCAP <0031, FE0F, 20E3> <0032, FE0E, 20E3> DIGIT TWO inside a COMBINING ENCLOSING KEYCAP <0032, FE0F, 20E3> <0033, FE0E, 20E3> DIGIT THREE inside a COMBINING ENCLOSING KEYCAP <0033, FE0F, 20E3> <0034, FE0E, 20E3> DIGIT FOUR inside a COMBINING -
Elder Futhark Rune Poem and Some Notes RYKHART: ODINSXRAL
Elder Futhark Rune Poem and some notes RYKHART: ODINSXRAL Dedication Mysteries ancient, Allfather found Wrested from anguish, nine days fast bound Hung from the world tree, pierced by the spear Odin who seized them, make these staves clear 1 Unless otherwise specified, all text and artwork within ELDER FUTHARK RUNE POEM and some notes RYKHART: ODINSXRAL are copyright by the author and is not to be copied or reproduced in any medium or form without the express written permission of the author Reikhart Odinsthrall both Reikhart Odinsthrall and RYKHART: ODINSXRAL are also both copyright Dec 31, 2013 Elder Futhark Rune Poem by Reikhart Odinsthrall is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. Based on a work at http://odinsthrall.co.uk/rune-poem.html. 2 F: Fehu : Cattle / Wealth Wealth is won and gold bestowed But honour's due to all men owed Gift the given and ware the lord For thy name's worth noised abroad U: Uruz : Aurochs / Wild-ox Wild ox-blood proud, sharp hornéd might On moorland harsh midst sprite and wight Unconquered will and fierce in form Through summer's sun and winter's storm X: Thurisaz : Thorn / Giant / Thor Thorn hedge bound the foe repelled A giant's anger by Mjolnir felled Thor protect us, fight for troth In anger true as Odin's wrath A: Ansuz : As / God / Odin In mead divine and written word In raven's call and whisper heard Wisdom seek and wise-way act In Mimir's well see Odin's pact R: Raidho : Journey / Carriage By horse and wheel to travel far Till journey's -
Norse Mythology
A H AN D BOO K O F NO RSE MYTHO LOGY KA RL MORTENSEN DOCT O R OF PH I L OSO PHY UN IV E RS ITY O F CO P EN H AGEN ; A DJU NCT A T TH E CA TH E DRA L S CH OO L ( ROYAL GYM NASIUM) A T O DENSE TRAN SL A TED F ROM TH E DANISH I A . CL N TON CROWEL L ASS OCIATE PR OF ESSOR KN B ROW N UNIV ERS ITY N EW YORK W TH OMAS Y . CRO ELL COMPAN Y P UB LI SH E RS A U TH OR ’S P RE F A CE TH IS p o pular pre s entati o n o f th e myth s and s aga s w h ich to o k shap e he re in th e N o rth but wh o s e fo undati o n i s co mmo n pro perty o f all th e p e o ple w h o s pe ak a Go - Ge e s e e thic rmanic languag , fir t app ar d in 1898 and h as bee n u se d s ince th en in th e s tudy o f N o r s e Myth o l o gy in th e high s ch o o l s and unive rs iti e s o f all th e S candina P e o o e vian c o untries . S ince ro f s s r Cr w ll h as th o ught that th e little b o o k might al s o achieve a m o de s t s ucc es s in th e y o unges t but rich es t and m o st p o we r ful branch which “ - s o frOm our o mOn . -
The Staves Package
The staves package Apostolos Syropoulos Xanthi, Greece [email protected] 2006/11/06 Abstract The staves package has been designed to provide an interface to the ice- landic font, designed by the author of this package. The font contains all “magical” staves presented on the Web site of the Icelandic Museum of Sor- cery and Witchcraft. In addition, the package provides a simple command to typeset Icelandic runes. Disclaimer Sorcery as a cultural phenomenon is studied by ethnologists. Becuase of this, the author believes that his work should be of interest to enthnologists, in particular, and people with an interest in (digital) typography, in general. However, the author does not believe that the glyphs of the font do actually have any “magical” power. Also, if someone will use them to perform any kind of “magical” ceremony, the author cannot be hold responsible for any such action and its consequences. 1 Introduction The staves package provides a simple interface to the icelandic font designed by this author. The font contain all the “magical” staves that are described at the Web site of the Icelandic Museum of Sorcery and Witchcraft (see http://www. galdrasyning.is/index.php?option=com_content&task=category§ionid= 5&id=18&Itemid=60 for more details). In addition, the font contains all the Ice- landic runes as they are presented at the same Web pages (see http://www. galdrasyning.is/index.php?option=com_content&task=view&id=229&Itemid= 131 for more details). The various staves can be accessed by simple commands that have the following -
ᛶ 16F1 ᛷ 16F2 ᛸ 16F3 ᛱ 16F4 ᛲ 16F5 ᛁ 16C1 ᛳ 16F6 ᛴ 16F7 ᛵ
ISO/IEC JTC1/SC2/WG2 N4013R L2/11-096R 2011-05-10 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation Internationale de Normalisation Международная организация по стандартизации Doc Type: Working Group Document Title: Proposal to encode additional Runic characters in the UCS Source: Michael Everson and Andrew West Status: Individual Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Date: 2011-05-10 0. Introduction. A number of Runic characters should be encoded to fill gaps in the UCS. Three of them are found in the writings of J. R. R. Tolkien, and five of them are found on the Anglo-Saxon Franks Casket. If this proposal is accepted, the following characters will be added to the standard (since the Franks Casket characters replace original inherited runes, those are given on the right for comparison): ᛶ 16F1 RUNIC LETTER K ᛷ 16F2 RUNIC LETTER SH ᛸ 16F3 RUNIC LETTER OO ᛱ 16F4 RUNIC LETTER FRANKS CASKET OS ᚩ 16A9 RUNIC LETTER OS O ᛲ 16F5 RUNIC LETTER FRANKS CASKET IS ᛁ 16C1 RUNIC LETTER ISAZ IS ISS I ᛳ 16F6 RUNIC LETTER FRANKS CASKET EH ᛖ 16D6 RUNIC LETTER EHWAZ EH E ᛴ 16F7 RUNIC LETTER FRANKS CASKET AC ᚪ 16AA RUNIC LETTER AC A ᛵ 16F8 RUNIC LETTER FRANKS CASKET AESC ᚫ 16AB RUNIC LETTER AESC 1. Tolkienian extensions. Although for The Lord of the Rings J. R. R. Tolkien devised and employed two writing systems, the featural Tengwar script and the runiform Cirth script, in The Hobbit and some of his other writings he made use of Old English runes.