1.
Skald
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The term skald or skáld, meaning ‘poet’, is generally used for poets who composed at the courts of Scandinavian and Icelandic leaders during the Viking Age and Middle Ages. Skaldic poetry forms one of two groupings of Old Norse poetry, the other being the anonymous Eddic poetry. The most prevalent metre of skaldic poetry is dróttkvætt, the subject is usually historical and encomiastic, detailing the deeds of the skalds patron. There is no evidence that the skalds employed musical instruments, the technical demands of the skaldic form were equal to the complicated verse forms mastered by the Welsh bards and Gaelic ollaves. Like those poets, much skaldic verse consisted of panegyrics to kings, the word skald is perhaps ultimately related to Proto-Germanic *skalliz sound, voice, shout. Old High German has skalsang song of praise, psalm, and skellan means ring, clang, the Old High German variant stem skeltan etymologically identical to the skald- stem means to scold, blame, accuse, insult. The person doing the insulting is a skelto or skeltāri and this bears striking similarities to the Dutch verb schelden and the southern German schelten, which mean shouting abuse or calling names. The West Germanic counterpart of the skald is the scop, like the scop, which is related to Modern English scoff, the name skald is continued in English scold, reflecting the central position of mocking taunts in Germanic poetry. Skaldic poetry can be traced to the earlier 9th century with Bragi Boddason and his Ragnarsdrápa, Bragi is considered the oldest and original Skald. At the time, the Icelanders and Nordic people were still pagan, as time went on, Skalds became the main source of Icelandic and Norse history and culture, as it was the Skalds who learned and shared the largely oral history. That led to a shift in the role of the Skald, every king and chieftain needed a Skald to record their feats and ensure their legacy lived on, as well as becoming the main historians of their society. The written artifacts of that come from Skalds, as they were the first from the time. As the years passed, the Skald profession was threatened with extinction until Snorri Sturluson compiled the Prose Edda, Snorri, born in Iceland during the 12th century is the most famous skald. In addition to being a poet, he was leader of the Althing for part of his life. For example, the Prose Edda broke down and explained kennings used in skaldic poetry, allowing many of them to be understood today. Beyond writing the Prose Edda, Snorri had many poems from retelling old Norse legends to tales on exploits of kings. Most Nordic verse of the Viking Age came in one of two forms, eddic or skaldic, Eddic verse was usually simple, in terms of content, style and metre, dealing largely with mythological or heroic content. Skaldic verse, conversely, was complex, and usually composed as a tribute or homage to a particular jarl or king, there is debate over the performance of skaldic poetry, but there is a general scholalry consensus that it was spoken rather than sung
2.
Poetry
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Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient attempts to define poetry, such as Aristotles Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on such as repetition, verse form and rhyme. From the mid-20th century, poetry has sometimes been more generally regarded as a creative act employing language. Poetry uses forms and conventions to suggest differential interpretation to words, devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony and other elements of poetic diction often leaves a poem open to multiple interpretations. Similarly figures of such as metaphor, simile and metonymy create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between verses, in their patterns of rhyme or rhythm. Some poetry types are specific to cultures and genres and respond to characteristics of the language in which the poet writes. Much modern poetry reflects a critique of poetic tradition, playing with and testing, among other things, in todays increasingly globalized world, poets often adapt forms, styles and techniques from diverse cultures and languages. Some scholars believe that the art of poetry may predate literacy, others, however, suggest that poetry did not necessarily predate writing. The oldest surviving poem, the Epic of Gilgamesh, comes from the 3rd millennium BCE in Sumer. An example of Egyptian epic poetry is The Story of Sinuhe, other forms of poetry developed directly from folk songs. The earliest entries in the oldest extant collection of Chinese poetry, the efforts of ancient thinkers to determine what makes poetry distinctive as a form, and what distinguishes good poetry from bad, resulted in poetics—the study of the aesthetics of poetry. Some ancient societies, such as Chinas through her Shijing, developed canons of poetic works that had ritual as well as aesthetic importance, Classical thinkers employed classification as a way to define and assess the quality of poetry. Later aestheticians identified three major genres, epic poetry, lyric poetry, and dramatic poetry, treating comedy and tragedy as subgenres of dramatic poetry, Aristotles work was influential throughout the Middle East during the Islamic Golden Age, as well as in Europe during the Renaissance. English Romantic poet John Keats termed this escape from logic Negative Capability and this romantic approach views form as a key element of successful poetry because form is abstract and distinct from the underlying notional logic
3.
Norse mythology
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The cosmos in Norse mythology consists of Nine Worlds that flank a central cosmological tree, Yggdrasil. Units of time and elements of the cosmology are personified as deities or beings, various forms of a creation myth are recounted, where the world is created from the flesh of the primordial being Ymir, and the first two humans are Ask and Embla. These worlds are foretold to be reborn after the events of Ragnarök, there the surviving gods will meet, and the land will be fertile and green, and two humans will repopulate the world. Norse mythology has been the subject of scholarly discourse since the 17th century, by way of comparative mythology and historical linguistics, scholars have identified elements of Germanic mythology reaching as far back as Proto-Indo-European mythology. In the modern period, the Romanticist Viking revival re-awoke an interest in the subject matter, the myths have further been revived in a religious context among adherents of Germanic Neopaganism. The majority of these Old Norse texts were created in Iceland and this occurred primarily in the 13th century. The Prose Edda was composed as a manual for producing skaldic poetry—traditional Old Norse poetry composed by skalds. Originally composed and transmitted orally, skaldic poetry utilizes alliterative verse, kennings, the Prose Edda presents numerous examples of works by various skalds from before and after the Christianization process and also frequently refers back to the poems found in the Poetic Edda. The Poetic Edda consists almost entirely of poems, with some prose narrative added, in comparison to skaldic poetry, Eddic poetry is relatively unadorned. Numerous further texts, such as the sagas, provide further information, the saga corpus consists of thousands of tales recorded in Old Norse ranging from Icelandic family histories to Migration period tales mentioning historic figures such as Attila the Hun. By way of historical linguistics and comparative mythology, comparisons to other attested branches of Germanic mythology may also lend insight, wider comparisons to the mythology of other Indo-European peoples by scholars has resulted in the potential reconstruction of far earlier myths. Of the mythical tales and poems that are presumed to have existed during the Middle Ages, Viking Age, Migration Period, numerous gods are mentioned in the source texts. In the mythology, Thor lays waste to numerous jötnar who are foes to the gods or humanity, the god Odin is also frequently mentioned in surviving texts. One-eyed, wolf and raven-flanked, and spear in hand, Odin pursues knowledge throughout the worlds, Odin has a strong association with death, Odin is portrayed as the ruler of Valhalla, where valkyries carry half of those slain in battle. Odins wife is the powerful goddess Frigg who can see the future but tells no one, and together they have a beloved son, Baldr. After a series of dreams had by Baldr of his death, his death is engineered by Loki, and Baldr thereafter resides in Hel. Odin must share half of his share of the dead with a powerful goddess and she is beautiful, sensual, wears a feathered cloak, and practices seiðr. She rides to battle to choose among the slain, and brings her chosen to her afterlife field Fólkvangr, Freyja weeps for her missing husband Óðr, and seeks after him in far away lands
4.
Bragarfull
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See Symbel for the British band. Symbel and sumbl are Germanic terms for feast, banquet, Bauschatz in 1976 suggested that the term reflects a pagan ritual which had a great religious significance in the culture of the early Germanic people. Bauschatz lead is followed only sporadically in modern scholarship, but his interpretation has inspired such solemn drinking-rituals in Germanic neopaganism, the ritual according to Bauschatz was always conducted indoors, usually in a chieftains mead hall. Symbel involved a ritual which was more solemn and serious than mere drinking or celebration. The primary elements of symbel are drinking ale or mead from a horn, speech making. Eating and feasting were specifically excluded from symbel, and no alcohol was set aside for the gods or other deities in the form of a sacrifice, a number of earlier scholars have argued for a borrowing from Latin symbola, Against this derivation, P. A. Erades argues that these go back to Common Germanic *sumil or *sumal gathering. He explains the Germanic stem *sum- as ultimately deriving from Proto-Indo-European *sṃ and this is the same element which developed into copulative a in Ancient Greek. Paul Bauschatz appears to accept sum, sam together, but proposes that the word represents a compound with alu ale as its second element and this would render the meaning gathering or coming together of ale. There is also a verb, symblian or symblan, meaning to feast, caraouse. Not to be confused is the unrelated homophone symbel, symble meaning always, in Old English poetry, especially Beowulf, feasts could be instrumental occasions to bind the community, secure the loyalty of warriors and to bolster their determination to perform heroic deeds. In Beowulf, Unferth the thyle appears to act as a royal officiant at the feast which King Hrothgar organised for the Geatish newcomers, Beowulf and he challenged and questioned Beowulf, not eschewing taunts and mockery. Since no one intervenes during the incident, such appears to have been expected of him. In Beowulf, a warriors boast or his oath is often spoken at a feast, another role commonly attested for during a feast was that of the scop, who recited genealogies, folklore and metrical poetry. The alcoholic drink was served by women or alekeepers, the first round usually poured by the lady of the house, the names are sometimes anglicized as bragarful and bragaful respectively. That the name appears in two forms with two meanings makes it difficult to determine the literal meaning, the word bragr best, foremost is a source for its first element. The form bragafull can also be interpreted as Bragis cup, referring to the Bragi, god of poetry, and first Odins goblet was emptied for victory and power to his king, thereafter, Njörds and Freyjas goblets for peace and a good season. Then it was the custom of many to empty the bragafull, then he should stand up, take the bragafull, make solemn vows to be afterwards fulfilled, and thereupon empty the beaker
5.
Carl Wahlbom
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Carl Wahlbom was a Swedish military artist. He was born in Kalmar and died in London, vapen och konsthistoria, Wahlbom och Leonardo-traditionen. Johan Gustaf Wahlbom, hållet å kongl, vet. academiens vägnar d.14 jan.1809 af dess ledamot Sv. Carl Wahlbom, 1810-1858, en minnesutställning, Kalmar konstmuseum, april 1958, teckningar ur Asarne componerade och etsade. Johan Wilhelm Karl Wahlbom, 1810-1857, en konsthistorisk studie, med 42 bilder, sveriges allmänna konstförenings album, 99-1679617-3,9
6.
W. G. Collingwood
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William Gershom Collingwood was an English author, artist, antiquary and professor of Fine Arts at University College, Reading. His father, also William, was a watercolour artist, and had married Marie Eliabeth Imhoff of Arbon, soon young William was sketching with his father in the Lakes, North Wales, and Switzerland. In 1872, he went to University College, Oxford, where he met John Ruskin, during the summer of 1873 Collingwood visited Ruskin at Brantwood, Coniston. Two years later Collingwood was working at Brantwood with Ruskin and his associates, Ruskin admired his draughtsmanship, and so Collingwood studied at the Slade School of Art between 1876 and 1878. He exhibited at the Royal Academy in 1880, for many years Collingwood dedicated himself to helping Ruskin, staying at Brantwood as Ruskins assistant and travelling with him to Switzerland. In 1883 he married Edith Mary Isaac and settled near to Ruskin in the Lake District, Collingwood edited a number of Ruskins texts and published a biography of Ruskin in 1893. In 1896, Arthur Ransome met the Collingwoods and their children, Dora, Barbara, Ursula, Ransome learned to sail in Collingwoods boat, Swallow, and became a firm friend of the family, even proposing marriage to both Dora and Barbara. After a summer of teaching Collingwoods grandchildren to sail in Swallow II in 1928, Ransome wrote the first book in his Swallows and he used the names of some of Collingwoods grandchildren for his characters, the Swallows. By the 1890s Collingwood had become a painter and also joined the Cumberland and Westmorland Antiquarian. He wrote a number of papers for its Transactions, becoming editor in 1900. Collingwood was particularly interested in Norse lore and the Norsemen, and he wrote a novel, in 1897, Collingwood travelled to Iceland where he spent three months over the summer exploring with Jón Stefánsson the sites around the country in which the medieval Icelandic sagas are set. Collingwood was a member of the Viking Club and served as its president, in 1902 he co-authored again with Jón Stefánsson the first translation it published, a translation of Kormáks saga entitled, The Life and Death of Kormac the Skald. His study of Norse and Anglican archaeology made him recognized as a leading authority. Collingwood joined the Admiralty intelligence division at the outbreak of the First World War, in 1919, he returned to Coniston and continued his writing with a history of the Lake District and perhaps his most important work, Northumbrian Crosses of the pre-Norman Age. He was a climber and swimmer, and a tireless walker into advanced age. In 1927 he experienced the first of a series of strokes and his wife died in 1928, followed by Collingwood himself in 1932. Following the Armistice of 1918, and the treaty of 1919. His knowledge of and enthusiasm for Scandinavian crosses is displayed at Grasmere where the memorial on Broadgate Meadows is a pastiche of an Anglian cross, the short verse at its base was penned by his close friend Canon Hardwicke Rawnsley who was chair of the memorial committee
7.
Snorri Sturluson
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Snorri Sturluson was an Icelandic historian, poet, and politician. He was elected twice as lawspeaker at the Icelandic parliament, the Althing and he was also the author of the Heimskringla, a history of the Norwegian kings that begins with legendary material in Ynglinga saga and moves through to early medieval Scandinavian history. For stylistic and methodological reasons, Snorri is often taken to be the author of Egils saga, as a historian and mythographer, Snorri is remarkable for proposing the hypothesis that mythological gods begin as human war leaders and kings whose funeral sites develop cults. As people call upon the war leader as they go to battle, or the dead king as they face tribal hardship. Eventually, the king or warrior is remembered only as a god and he also proposed that as tribes defeat others, they explain their victory by proposing that their own gods were in battle with the gods of the others. Snorri Sturluson was born in Hvammur into the wealthy and powerful Sturlungar family of the Icelandic Commonwealth and his parents were Sturla Þórðarson the elder of Hvammur and his second wife, Guðný Böðvarsdóttir. He had two brothers, Þórðr Sturluson and Sighvatr Sturluson, two sisters and nine half-siblings. By a quirk of circumstance Snorri was raised from the age of three by Jón Loftsson, a relative of the Norwegian royal family, in Oddi, Iceland. The resulting settlement would have beggared Páll, but Jón Loftsson intervened in the Althing to mitigate the judgment and, to compensate Sturla, offered to raise, Snorri therefore received an excellent education and made connections that he might not otherwise have made. He attended the school of Sæmundr fróði, grandfather of Jón Loftsson, at Oddi and his father died in 1183 and his mother as guardian soon wasted Snorris share of the inheritance. The two families arranged an marriage in 1199 between Snorri and Herdís, the daughter of Bersi Vermundarson. From her father, Snorri inherited an estate at Borg and a chieftainship and he soon acquired more property and chieftainships. Snorri and Herdís were together for four years at Borg and they had at least two children, Hallbera and Jón. The marriage succumbed to Snorris philandering, and in 1206, he settled in Reykholt as manager of an estate there and he made significant improvements to the estate, including a hot outdoor bath. The bath and the buildings have preserved to some extent. During the initial years at Reykholt he fathered five children by three different women, Guðrún Hreinsdóttir, Oddný, and Þuríður Hallsdóttir, Snorri quickly became known as a poet, but was also a successful lawyer. In 1215, he became lawspeaker of the Althing, the public office of the Icelandic commonwealth. In the summer of 1218, he left the position and sailed to Norway
8.
Gylfaginning
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Gylfaginning, is the first part of Snorri Sturlusons Prose Edda after Prologue. The Gylfaginning deals with the creation and destruction of the world of the Norse gods, the second part of the Prose Edda is called the Skáldskaparmál and the third Háttatal. This is why he journeys to Asgard, but on the way he is tricked by the gods and arrives in some other place, inside the palace he encounters a man who asks Gylfis name and so king Gylfi introduces himself as Gangleri. Gangleri then is taken to the king of the palace and comes upon three men, High, Just-As-High, and Third, Gangleri is then challenged to show his wisdom by asking questions, as is the custom in many Norse sagas. Each question made to High, Just-As-High, and Third is about an aspect of the Norse mythology or its gods, in the end all the palace and its people just vanish and Gylfi is left standing on empty ground. It is then implied that as Gylfi returns to his nation and it can be argued that Snorri used this narrative device as a means of being able to safely document a vanishing and largely oral tradition within a Christian context. Gylfaginning in Old Norse at heimskringla. no Text of all original manuscripts The text with modern Icelandic spelling English translation
9.
Odin
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In Germanic mythology, Odin is a widely revered god. In the modern period, Odin continued to be acknowledged in the folklore of Germanic Europe. Forms of his name appear frequently throughout the Germanic record, though narratives regarding Odin are mainly found in Old Norse works recorded in Iceland and these texts make up the bulk of modern understanding of Norse mythology. In Old Norse texts, Odin is depicted as one-eyed and long-bearded, frequently wielding a spear named Gungnir, and wearing a cloak, Odin is attested as having many sons, most famously the god Baldr with Frigg, and is known by hundreds of names. Odin has an association with Yule, and mankinds knowledge of both the runes and poetry is also attributed to him. In Old Norse texts, Odin is given primacy over female beings associated with the battlefield—the valkyries—and oversees Valhalla, where he receives half of those who die in battle, the other half are chosen by the goddess Freyja for her afterlife location, Fólkvangr. In later folklore, Odin appears as a leader of the Wild Hunt and he has also been associated with charms and other forms of magic, particularly in Old English and Old Norse texts. Odin has been a frequent subject of study in Germanic studies, in the modern period, Odin has inspired numerous works of poetry, music, and other forms of media. He is venerated in most forms of the new religious movement Heathenry, together with other gods venerated by the ancient Germanic peoples, some branches focus particularly on him. The Old Norse theonym Óðinn and its cognates, including Old English Wōden, Old Saxon Wōden, the masculine noun *wōđanaz developed from the Proto-Germanic adjective *wōđaz, related to Latin vātēs and Old Irish fáith, both meaning seer, prophet. Adjectives stemming from *wōđaz include Gothic woþs possessed, Old Norse óðr, mad, frantic, furious, additionally the Old Norse noun æði rage, fury and Old High German wuotī madness derive from the feminine noun *wōđīn, from *wōđaz. Over 170 names are recorded for the god Odin and these names are variously descriptive of attributes of the god, refer to myths involving him, or refer to religious practices associated with the god. This multitude of names makes Odin the god with the most names known among the Germanic peoples, the weekday name Wednesday derives from Old English wōdnesdæg. Cognate terms are found in other Germanic languages, such as Middle Low German wōdensdach, all of these terms derive from Proto-Germanic *Wodensdag, itself a Germanic interpretation of Latin Dies Mercurii. However, in Old High German, the derived from Odins was replaced by a translation of Church Latin media hebdomas. The earliest records of the Germanic peoples were recorded by the Romans and they regard it as a religious duty to offer to him, on fixed days, human as well as other sacrificial victims. Hercules and Mars they appease by animal offerings of the permitted kind, in this instance, Tacitus refers to the god Odin as Mercury, Thor as Hercules, and Týr as Mars, and the identity of the Isis of the Suebi has been debated. But their rankings in their respective religious spheres may have very different
10.
Thor
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In Norse mythology, Thor is a hammer-wielding god associated with thunder, lightning, storms, oak trees, strength, the protection of mankind, and also hallowing and fertility. The cognate deity in wider Germanic mythology and paganism was known in Old English as Þunor and in Old High German as Donar, into the modern period, Thor continued to be acknowledged in rural folklore throughout Germanic regions. Thor is frequently referred to in place names, the day of the week Thursday bears his name, in Norse mythology, largely recorded in Iceland from traditional material stemming from Scandinavia, numerous tales and information about Thor are provided. With Sif, Thor fathered the goddess Þrúðr, with Járnsaxa, he fathered Magni, with a mother whose name is not recorded, he fathered Móði, and he is the stepfather of the god Ullr. The same sources list Thor as the son of the god Odin and the earth, Jörð. Thor has two servants, Þjálfi and Röskva, rides in a cart or chariot pulled by two goats, Tanngrisnir and Tanngnjóstr, and is ascribed three dwellings. Thor wields the mountain-crushing hammer, Mjölnir, wears the belt Megingjörð and the iron gloves Járngreipr, Thor has inspired numerous works of art and references to Thor appear in modern popular culture. Like other Germanic deities, veneration of Thor is revived in the period in Heathenry. The name of the god is the origin of the weekday name Thursday, by employing a practice known as interpretatio germanica during the Roman Empire period, the Germanic peoples adopted the Roman weekly calendar, and replaced the names of Roman gods with their own. Latin dies Iovis was converted into Proto-Germanic *Þonares dagaz, from which stems modern English Thursday, beginning in the Viking Age, personal names containing the theonym Thórr are recorded with great frequency. Prior to the Viking Age, no examples are recorded, thórr-based names may have flourished during the Viking Age as a defiant response to attempts at Christianization, similar to the wide scale Viking Age practice of wearing Thors hammer pendants. They regard it as a duty to offer to him, on fixed days. Hercules and Mars they appease by animal offerings of the permitted kind, in this instance, Tacitus refers to the god Odin as Mercury, Thor as Hercules, and the god Týr as Mars, and the identity of the Isis of the Suebi has been debated. In Thors case, the identification with the god Hercules is likely at least in part due to similarities between Thors hammer and Hercules club. In his Annals, Tacitus again refers to the veneration of Hercules by the Germanic peoples, Donar, the southern Germanic form of the gods name. According to an account, the Christian missionary Saint Boniface felled an oak tree dedicated to Jove in the 8th century. Around the second half of the 8th century, Old English mentions of a figure named Thunor are recorded, gabriel Turville-Petre saw this as an invented origin for the placename demonstrating loss of memory that Thunor had been a gods name. Adam details that Thor, they reckon, rules the sky, he governs thunder and lightning, winds and storms, fine weather and fertility and that Thor, with his mace, looks like Jupiter
11.
Baldr
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Baldr is a god in Norse mythology, who is given a central role in the mythology. His precise function is, however, disputed and he is often interpreted as the god of love, peace, forgiveness, justice, light or purity, but he was not directly attested as a god of such. He is the son of Odin and the goddess Frigg. His twin brother is the blind god Höðr, jacob Grimm in his Teutonic Mythology identifies Old Norse Baldr with the Old High German Baldere, Palter, Paltar and with Old English bealdor, baldor lord, prince, king. Old Norse shows this usage of the word as an honorific in a few cases, as in baldur î brynju and herbaldr, both epithets of heroes in general. Grimm traces the etymology of the name to *balþaz, whence Gothic balþs, Old English bald, Old High German pald, all meaning white, but the interpretation of Baldr as the brave god may be secondary. Baltic has a word meaning the white, the good, in continental Saxon and Anglo-Saxon tradition, the son of Woden is called not Bealdor but Baldag and Bældæg, Beldeg, which shows association with day, possibly with Day personified as a deity. This, as Grimm points out, would agree with the shining one, white one. Grimms etymology is endorsed by modern research, according to Rudolf Simek, the original name for Baldr must be understood as shining day. One of the two Merseburg Incantations names Baldere, but also mentions a figure named Phol, considered to be a byname for Baldr and this interpretation is linked to the presupposition that the figure in question is a companion of Wodan, the upper god. In a different interpretation, phol is just another form of folon mentioned in the next line, in the Poetic Edda the tale of Baldrs death is referred to rather than recounted at length. Among the visions which the Völva sees and describes in the known as the Völuspá is one of the fatal mistletoe, the birth of Váli. Yet looking far into the future the Völva sees a vision of a new world. The Eddic poem Baldrs Dreams mentions that Baldr has bad dreams which the gods then discuss, Odin rides to Hel and awakens a seeress, who tells him Höðr will kill Baldr but Vali will avenge him. In Gylfaginning, Baldur is described as follows, Apart from this description Baldr is known primarily for the story of his death and his death is seen as the first in the chain of events which will ultimately lead to the destruction of the gods at Ragnarök. Baldr will be reborn in the new world, according to Völuspá and he had a dream of his own death and his mother had the same dreams. Since dreams were usually prophetic, this depressed him, so his mother Frigg made every object in every realm vow never to hurt Baldr, all objects made this vow except mistletoe. When Loki, the mischief-maker, heard of this, he made a spear from this plant
12.
Lokasenna
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Lokasenna is one of the poems of the Poetic Edda. The poem presents flyting between the gods and Loki, Loki, amongst other things, accuses the gods of moralistic sexual impropriety, the practice of seiðr, and bias. Not ostensibly the most serious of allegations, however these elements are ultimately to lead to the onset of Ragnarök in the Eddic poem Völuspá. However, Lokasenna does not directly state that Lokis binding is as a consequence of the killing of Baldr and this is explicitly stated only in Snorri Sturlusons Prose Edda. The setting is a feast given by the sea god Ægir, (In continuity, the prose introduction says, Ægir, also named Gymir, had made ale for the Æsir, when he had received the great kettle of which was told. Thor did not attend, but his wife Sif came in his stead as did Bragi, many other Vanir, Æsir, and also elves were there. The servants of Ægir, Fimafeng and Eldir, did a job of welcoming the guests, Loki was jealous of the praise being heaped upon them. The gods were angry with Loki and drove him out of the hall and he threatened him and bade him reveal what the gods were talking about in their cups. Eldirs response was that they were discussing their might at arms, Loki then enters the hall of Ægir after trading insults and threats with Eldir. Loki calls upon the rules of hospitality, demanding a seat, Bragi then responds that he is unwelcome. Loki demands fulfillment of an ancient oath sworn with Odin that they should drink together, Odin asked his son Vidar to make a space for Loki. Vidar rises and pours a drink for Loki, before Loki drains his draught, he utters a toast to the gods but pointedly excludes Bragi from it. Bragi offers Loki a horse, a ring and a sword to him, Loki, however, is spoiling for a fight. Bragis response is that it would be contrary to the rules of behaviour to fight within his hosts hall. Iðunn, Bragis wife, holds him back, Loki then insults Iðunn, calling her sexually loose. Gefjon is the next to speak and then Loki turns his spite on her, Odin then attempts to take a grip, as do, Freyja, Niord, Tyr, Freyr and Byggvir. The exchanges between Odin and Loki are particularly vitriolic, eventually Thor turns up at the party, and he is not to be placated, nor withheld. Alternating with Lokis insults to him, he says four times that he use his hammer to knock Lokis head off if he continues
13.
Frigg
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In Germanic mythology, Frigg, Frija, Frea, and Frige is a goddess. In nearly all sources, she is described as the wife of the god Odin, in Old High German and Old Norse sources, she is also connected with the goddess Fulla. The English weekday name Friday bears her name, Frigg is described as a goddess associated with foreknowledge and wisdom in Norse mythology, the northernmost branch of Germanic mythology and most extensively attested. The children of Frigg and Odin include the gleaming god Baldr, due to significant thematic overlap, scholars have proposed a particular connection to the goddess Freyja. After Christianization, mention of Frigg continued to occur in Scandinavian folklore, in modern times, Frigg has appeared in modern popular culture, has been the subject of art, and receives modern veneration in Germanic Neopaganism. The theonyms Frigg and Frija are cognate forms—linguistic siblings of the same origin—that descend from a substantivized feminine of Proto-Germanic *frijaz, *frijaz descends from the same source as the feminine Sanskrit noun priyā and the feminine Avestan noun fryā. In the modern period, an -a suffix is applied to denote femininity. This spelling also serves the purpose of distancing the goddess from the English word frig, the connection with and possible earlier identification of the goddess Freyja with Frigg in the Proto-Germanic period is a matter of scholarly debate. The name Freyja is not attested outside of Scandinavia, like the name of the group of gods to which Freyja belongs, the Vanir. This is in contrast to the name of the goddess Frigg, who is attested as a common among the Germanic peoples. The best that can be done is to survey the arguments for and against their identity, the English weekday name Friday comes from Old English Frīges Day and is cognate with Old High German frîatac. Both weekday names are result of interpretatio germanica that occurred at or before the 3rd or 4th century CE, several place names refer to Frigg in what are now Norway and Sweden, although her name is altogether absent in recorded place names in Denmark. According to this legend, a people known as the Winnili were ruled by a woman named Gambara who had two sons, Ybor and Agio. The Vandals, ruled by Ambri and Assi, came to the Winnili with their army, Ybor, Agio, and their mother Gambara rejected their demands for tribute. Ambra and Assi then asked the god Godan for victory over the Winnili, to which Godan responded, Whom I shall first see when at sunrise, meanwhile, Ybor and Agio called upon Frea, Godans wife. Frea counseled them that at sunrise the Winnil should come, at sunrise, Frea turned Godans bed around to face east and woke him. Godan saw the Winnili, including their women, and asked who are those Long-beards. Frea responded to Godan, As you have given them a name, Godan did so, so that they should defend themselves according to his counsel and obtain the victory
14.
Loki
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In Norse mythology, Loki, Loptr, or Hveðrungr is a god or jötunn. Loki is the son of Fárbauti and Laufey, and the brother of Helblindi, by the jötunn Angrboða, Loki is the father of Hel, the wolf Fenrir, and the world serpent Jörmungandr. By his wife Sigyn, Loki is the father of Narfi and/or Nari, by the stallion Svaðilfari, Loki is the mother—giving birth in the form of a mare—to the eight-legged horse Sleipnir. In addition, Loki is referred to as the father of Váli in Prose Edda, though this also refers to Odin as the father of Váli twice. Lokis relation with the gods varies by source, Loki sometimes assists the gods, Loki is a shape shifter and in separate incidents he appears in the form of a salmon, a mare, a fly, and possibly an elderly woman named Þökk. Lokis positive relations with the end with his role in engineering the death of the god Baldr. In both the Poetic Edda and the Prose Edda, the goddess Skaði is responsible for placing a serpent above him while he is bound, Loki may be depicted on the Snaptun Stone, the Kirkby Stephen Stone, and the Gosforth Cross. Lokis origins and role in Norse mythology, which scholars have described as that of a trickster god, have been much debated by scholars. Loki has been depicted in or is referenced in a variety of media in popular culture. The etymology of the name Loki has yet to be solved and it may be related to Old Norse luka, meaning close, shut. The name Hveðrungr is also used in reference to Loki, occurring in names for Hel, in the Poetic Edda, Loki appears in the poems Völuspá, Lokasenna, Þrymskviða, Reginsmál, Baldrs draumar, and Hyndluljóð. In stanza 35 of the Poetic Edda poem Völuspá, a völva tells Odin that, among other things, she sees Sigyn sitting very unhappily with her bound husband, Loki. In stanza 54, after consuming Odin and being killed by Odins son Víðarr, the poem Lokasenna centers around Loki flyting with other gods, Loki puts forth two stanzas of insults while the receiving figure responds with a single stanza, and then another figure chimes in. The poem begins with an introduction detailing that Ægir, a figure associated with the sea, is hosting a feast in his hall for a number of the gods. There, the gods praise Ægirs servers Fimafeng and Eldir, Loki could not bear to hear that, and kills the servant Fimafeng. In response, the gods grab their shields, shrieking at Loki, the gods then return to the hall, and continue drinking. Entrance and rejection Loki comes out of the woods, and meets Eldir outside of the hall, Loki greets Eldir with a demand that Eldir tell him what the gods are discussing over their ale inside the hall. Eldir responds that they discuss their weapons and their prowess in war, Loki says that he will go into the feast, and that, before the end of the feast, he will induce quarrelling among the gods, and mix their mead with malice
15.
Elf
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An elf is a type of supernatural being in Germanic mythology and folklore. Reconstructing the early concept of an elf depends almost entirely on texts in Old English or relating to Norse mythology, later evidence for elves appears in diverse sources such as medical texts, prayers, ballads, and folktales. Legends of álfar may have been changing and were perhaps always heterogeneous so it might be argued that any particular source will only reflect the state of affairs at one given time. However, the character of beliefs in elves across the Germanic-speaking world has varied considerably across time, space. In Old Norse mythological texts, elves seem at least at times to be counted among the gods, in medieval German texts they seem more consistently monstrous. Elves are prominently associated with sexual threats, seducing people and causing them harm, for example, a number of early modern ballads in the British Isles and Scandinavia, originating in the medieval period, describe human encounters with elves. In English literature of the Elizabethan era, elves became conflated with the fairies of Romance culture, German Romanticist writers were influenced by this notion of the elf, and reimported the English word elf in that context into the German language. In Scandinavia, probably through a process of euphemism, elves often came to be conflated with the called the huldra or huldufólk. Meanwhile, German folklore has tended to see the conflation of elves with dwarfs, the Christmas elves of contemporary popular culture are of relatively recent tradition, popularized during the late nineteenth-century in the United States. Elves entered the high fantasy genre in the wake of works published by authors such as J. R. R. Tolkien, for which. The English word elf is from the Old English word most often attested as ælf, although this word took a variety of forms in different Old English dialects, these converged on the form elf during the Middle English period. During the Old English period, separate forms were used for female elves, the main medieval Germanic cognates of elf are Old Norse alfr, plural alfar, and Old High German alp, plural alpî, elpî. These words must come from Common Germanic, the ancestor-language of English, German, and the Scandinavian languages, Germanic *ɑlβi-z~*ɑlβɑ-z is generally agreed to be cognate with the Latin albus, Old Irish ailbhín, Albanian elb, and Germanic words for ‘swan’ such as Modern Icelandic álpt. These all come from an Indo-European base *albh-, and seem to be connected by whiteness, the Germanic word presumably originally meant white person, perhaps as a euphemism. Jakob Grimm thought that whiteness implied positive moral connotations, and, noting Snorri Sturlusons ljósálfar and this is not necessarily the case, however. Compare descriptions such as ‘swan white’ to describe the beauty of fair complexion, Norse cultural values view masculinity as an ideal of beauty, which the Alfr personifies. For example, the Norse Eddas similarly celebrate the beauty of Baldr. Icelandic Sagas celebrate the beauty of the giants, and certain warrior kings that descend from them
16.
Sleipnir
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In Norse mythology, Sleipnir is an eight-legged horse. Sleipnir is attested in the Poetic Edda, compiled in the 13th century from traditional sources. In both sources, Sleipnir is Odins steed, is the child of Loki and Svaðilfari, is described as the best of all horses, the Prose Edda contains extended information regarding the circumstances of Sleipnirs birth, and details that he is grey in color. Sleipnir is generally accepted as depicted on two 8th century Gotlandic image stones, the Tjängvide image stone and the Ardre VIII image stone, scholarly theories have been proposed regarding Sleipnirs potential connection to shamanic practices among the Norse pagans. In modern times, Sleipnir appears in Icelandic folklore as the creator of Ásbyrgi, in works of art, literature, software, in the Poetic Edda, Sleipnir appears or is mentioned in the poems Grímnismál, Sigrdrífumál, Baldrs draumar, and Hyndluljóð. In Grímnismál, Grimnir tells the boy Agnar in verse that Sleipnir is the best of horses, in Sigrdrífumál, the valkyrie Sigrdrífa tells the hero Sigurðr that runes should be cut on Sleipnirs teeth and on the sledges strap-bands. In Baldrs draumar, after the Æsir convene about the god Baldrs bad dreams, Odin places a saddle on Sleipnir, the list begins with Sleipnir, best is Sleipnir, he is Odins, he has eight legs. In chapter 41, High quotes the Grímnismál stanza that mentions Sleipnir, in chapter 42, Sleipnirs origins are described. Gangleri asks High who the horse Sleipnir belongs to and what there is to tell about it, High expresses surprise in Gangleris lack of knowledge about Sleipnir and its origin. After some debate, the agree to this, but place a number of restrictions on the builder. The builder makes a single request, that he may have help from his stallion Svaðilfari, and due to Lokis influence, the stallion Svaðilfari performs twice the deeds of strength as the builder, and hauls enormous rocks to the surprise of the gods. The builder, with Svaðilfari, makes fast progress on the wall, the gods convene, and figured out who was responsible, resulting in a unanimous agreement that, along with most trouble, Loki was to blame. The gods declare that Loki would deserve a horrible death if he could not find a scheme that would cause the builder to forfeit his payment, and threatened to attack him. Loki, afraid, swore oaths that he would devise a scheme to cause the builder to forfeit the payment and that night, the builder drove out to fetch stone with his stallion Svaðilfari, and out from a wood ran a mare. The mare neighed at Svaðilfari, and realizing what kind of horse it was, Svaðilfari became frantic, neighed, tore apart his tackle, the mare ran to the wood, Svaðilfari followed, and the builder chased after. The two horses ran around all night, causing the work to be held up for the night. When the Æsir realize that the builder is a hrimthurs, they disregard their previous oaths with the builder, Thor arrives, and kills the builder by smashing the builders skull into shards with the hammer Mjöllnir. However, Loki had such dealings with Svaðilfari that somewhat later Loki gave birth to a foal with eight legs, the horse Sleipnir
17.
Vanir
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In Norse mythology, the Vanir are a group of gods associated with fertility, wisdom, nature, magic, and the ability to see the future. The Vanir are one of two groups of gods and are the namesake of the location Vanaheimr, after the Æsir–Vanir War, the Vanir became a subgroup of the Æsir. Subsequently, members of the Vanir are sometimes referred to as members of the Æsir. The Vanir are only attested in these Old Norse sources, Vanir is sometimes anglicized to Wanes. All sources describe the deities Njörðr, Freyr and Freyja as members of the Vanir, a euhemerized prose account in Heimskringla adds that Njörðrs sister—whose name is not provided—and Kvasir were Vanir. In addition, Heimskringla reports a tale involving king Sveigðirs visit to Vanaheimr, where he meets a woman by the name of Vana, while not attested as Vanir, the gods Heimdallr and Ullr have been theorized as potential members of the group. In the Prose Edda, a name listed for boars is Van-child and they have speculated whether the Vanir originally represented pre-Indo-European deities or Indo-European fertility gods, and have theorized a form of the gods as venerated by the pagan Anglo-Saxons. Numerous theories have proposed for the etymology of Vanir. Page says that, while there are no shortages of etymologies for the word, it is tempting to link the word with Old Norse vinr, friend, and Latin Venus, goddess of physical love. In the Poetic Edda, the Vanir, as a group, are referenced in the poems Völuspá, Vafþrúðnismál, Skírnismál, Þrymskviða. In Vafþrúðnismál, Gagnráðr engages in a game of wits with the jötunn Vafþrúðnir, Gagnráðr asks Vafþrúðnir where the Van god Njörðr came from, for though he rules over many hofs and hörgrs, Njörðr was not raised among the Æsir. Vafþrúðnir responds that Njörðr was created in Vanaheimr by wise powers and details that during the Æsir–Vanir War, in addition, when the world ends, Njörðr will return to the wise Vanir. Alvíssmál consists of question and answer exchanges between the dwarf Alvíss and the god Thor, in the poem, Alvíss supplies terms that various groups, including the Vanir, use to refer to various subjects. Alvíss attributes nine terms to the Vanir, one for Earth, Heaven, clouds, calm, the sea, fire, wood, seed, the poem Þrymskviða states that the god Heimdallr possesses foreknowledge, as the Vanir also can. Sigrdrífumál records that the Vanir are in possession of a sacred mead, in the poem, the valkyrie Sigrdrífa provides mystical lore about runes to the hero Sigurd. Sigrdrífa notes that runes were carved on to various creatures, deities and other figures. This mead is possessed by the Æsir, the elves, mankind, in Skírnismál, the beautiful jötunn Gerðr first encounters the god Freyrs messenger Skírnir, and asks him if he is of the elves, of the Æsir, or of the wise Vanir. Skírnir responds that he is not of any of the three groups, later in the poem, Skírnir is successful in his threats against Gerðr, and Gerðr offers Skírnir a crystal cup full of mead, noting that she never thought that she would love one of the Vanir
18.
Kvasir
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In Norse mythology, Kvasir was a being born of the saliva of the Æsir and the Vanir, two groups of gods. Extremely wise, Kvasir traveled far and wide, teaching and spreading knowledge and this continued until the dwarfs Fjalar and Galar killed Kvasir and drained him of his blood. Kvasir is attested in the Prose Edda and Heimskringla, both written by Snorri Sturluson in the 13th century, and in the poetry of skalds, in the Prose Edda, Kvasir appears in the books Gylfaginning and Skáldskaparmál. In the chapter, High says that while Loki was hiding from the gods, he took the form of a salmon during the day. Loki noticed that the gods were not far away from him, Loki sat before a fire, and when he noticed the gods were coming near him, he threw the net into the fire and jumped up and slipped into the river. The gods reached Loki’s house, and the first to enter was Kvasir, Kvasir saw the shape of the net in the ash of the fire, and so realized its purpose, to catch fish. And so Kvasir told the gods about it, the gods used the shape found in the ash as their model, and with it flushed Loki out of the river, resulting in his binding. In Skáldskaparmál, Kvasir is mentioned several times, in chapter 57 of the book, Ægir asks the skaldic god Bragi where the craft of poetry originates. Bragi says that the Æsir once wrangled with the Vanir but eventually came together to make peace, the two groups decided to form a truce by way of both sides spitting into a vat. After they left, the gods kept the vat as a symbol of their truce, “and decided not to let it be wasted, the man was named Kvasir, and he was extremely wise, he knew the answer to any question posed to him. Kvasir traveled far and wide throughout the world teaching mankind and spreading his vast knowledge, in time, two dwarfs, Fjalar and Galar, invited Kvasir to their home for a private talk. Upon Kvasir’s arrival, the two dwarfs killed him, and drained his blood into three objects, two of the objects were vats, called Són and Boðn, and the third was a pot called Óðrerir. Fjalar and Galar mixed the blood with honey and the mixture became mead, the two dwarfs explained to the Æsir that Kvasir died by way of “suffocat in intelligence”, as there were none among them who were so well educated as to be able to pose him questions. Bragi then tells how the Mead of Poetry, by way of the god Odin, in chapter 3 Skáldskaparmál, poetic ways of referring to poetry are provided, including Kvasir’s blood. In reference, part of Vellekla by the 10th century Icelandic skald Einarr skálaglamm is provided, further, in chapter 3, a prose narrative mentions that the Kvasir’s blood was made into the Mead of Poetry. Kvasir is mentioned in an account of the origin of the gods in chapter 4 of Ynglinga saga. The chapter narrative explains that Odin waged war on the Vanir, yet the Vanir could not be defeated, Kvasir, here a member of the Vanir and described as the cleverest among them, is included among the hostages. The etymology of the name is uncertain, the root kvas- in Kvas-ir likely stems from the Proto-Germanic base *kvass-, meaning to “to squeeze, squash, crush, bruise”
19.
Wales
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Wales is a country that is part of the United Kingdom and the island of Great Britain. It is bordered by England to the east, the Irish Sea to the north and west, and it had a population in 2011 of 3,063,456 and has a total area of 20,779 km2. Wales has over 1,680 miles of coastline and is mountainous, with its higher peaks in the north and central areas, including Snowdon. The country lies within the temperate zone and has a changeable. Welsh national identity emerged among the Celtic Britons after the Roman withdrawal from Britain in the 5th century, Llywelyn ap Gruffudds death in 1282 marked the completion of Edward I of Englands conquest of Wales, though Owain Glyndŵr briefly restored independence to Wales in the early 15th century. The whole of Wales was annexed by England and incorporated within the English legal system under the Laws in Wales Acts 1535–1542, distinctive Welsh politics developed in the 19th century. Welsh Liberalism, exemplified in the early 20th century by Lloyd George, was displaced by the growth of socialism, Welsh national feeling grew over the century, Plaid Cymru was formed in 1925 and the Welsh Language Society in 1962. Established under the Government of Wales Act 1998, the National Assembly for Wales holds responsibility for a range of devolved policy matters, two-thirds of the population live in south Wales, mainly in and around Cardiff, Swansea and Newport, and in the nearby valleys. Now that the countrys traditional extractive and heavy industries have gone or are in decline, Wales economy depends on the sector, light and service industries. Wales 2010 gross value added was £45.5 billion, over 560,000 Welsh language speakers live in Wales, and the language is spoken by a majority of the population in parts of the north and west. From the late 19th century onwards, Wales acquired its popular image as the land of song, Rugby union is seen as a symbol of Welsh identity and an expression of national consciousness. The Old English-speaking Anglo-Saxons came to use the term Wælisc when referring to the Celtic Britons in particular, the modern names for some Continental European lands and peoples have a similar etymology. The modern Welsh name for themselves is Cymry, and Cymru is the Welsh name for Wales and these words are descended from the Brythonic word combrogi, meaning fellow-countrymen. The use of the word Cymry as a self-designation derives from the location in the post-Roman Era of the Welsh people in modern Wales as well as in northern England and southern Scotland. It emphasised that the Welsh in modern Wales and in the Hen Ogledd were one people, in particular, the term was not applied to the Cornish or the Breton peoples, who are of similar heritage, culture, and language to the Welsh. The word came into use as a self-description probably before the 7th century and it is attested in a praise poem to Cadwallon ap Cadfan c. 633. Thereafter Cymry prevailed as a reference to the Welsh, until c.1560 the word was spelt Kymry or Cymry, regardless of whether it referred to the people or their homeland. The Latinised forms of names, Cambrian, Cambric and Cambria, survive as lesser-used alternative names for Wales, Welsh
20.
Taliesin
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Taliesin was an early Brythonic poet of Sub-Roman Britain whose work has possibly survived in a Middle Welsh manuscript, the Book of Taliesin. Taliesin was a bard who is believed to have sung at the courts of at least three Brythonic kings. Ifor Williams identified eleven of the poems ascribed to Taliesin as possibly originating as early as the sixth century. Some of the events to which the poems refer, such as the Battle of Arfderydd, are referred to in other sources, in legend and medieval Welsh poetry, he is often referred to as Taliesin Ben Beirdd. Taliesin was highly regarded in the century as the supposed author of a great number of romantic legends. According to legend Taliesin was adopted as a child by Elffin, the son of Gwyddno Garanhir, in later stories he became a mythic hero, companion of Bran the Blessed and King Arthur. His legendary biography is found in several late renderings, the earliest surviving narrative being found in a chronicle of world history written by Elis Gruffydd in the 16th century. Details of Taliesins life are sparse, the first mention of him occurs in the Saxon genealogies appended to four manuscripts of the Historia Brittonum. The writer names five poets, among them Taliesin, who lived in the time of Ida of Bernicia and a British chieftain, Dutigirn. Taliesins authorship of several praise-poems to Urien Rheged is commonly accepted, and these poems mention The Eden Valley and these poems refer to victories of Urien at the battles of Argoed Llwyfain, The Ford of Clyde and Gwen Ystrad. Taliesin also sang in praise of Cynan Garwyn, king of Powys, Wales, according to the Welsh Triads Taliesin had a son, Afaon, who was accounted a great warrior who suffered a violent death, probably in Lothian. More detailed traditions of Taliesins biography arose from about the 11th century, in the mid-16th century Elis Gruffydd recorded a legendary account of Taliesin that resembles the story of the boyhood of the Irish hero Fionn mac Cumhail and the salmon of wisdom in some respects. The tale was recorded in a slightly different version by John Jones of Gellilyfdy. This story agrees in respects with fragmentary accounts in The Book of Taliesin. According to the Hanes Taliesin, he was known as Gwion Bach ap Gwreang. He was a servent of Cerridwen and was made to stir the Cauldron of Inspiration for one year to allow for Cerridwen to complete her potion of inspiration, upon completion of this potion, three drops sprang out and landed upon Gwion Bachs thumb. Gwion then placed his thumb in his mouth to soothe his burns resulting in Gwions enlightenment, out of fear of what Cerridwen would do to him, Gwion fled and eventually transformed into a piece of grain before being consumed by Cerridwen. Gwion was then reborn and given the name Taliesin, according to these texts Taliesin was the foster-son of Elffin ap Gwyddno, who gave him the name Taliesin, meaning radiant brow, and who later became a king in Ceredigion, Wales
21.
Mabinogion
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The Mabinogion are the earliest prose literature of Britain. The stories were compiled in Middle Welsh in the 12th–13th centuries from oral traditions. The two main source manuscripts were created c, 1350–1410, as well as some earlier fragments. The title covers a collection of prose stories of widely different types. The highly sophisticated complexity of the Four Branches of the Mabinogi defy categorisation, the list is so diverse a leading scholar has challenged them as a true collection at all. Early scholars from the 18th century to the 1970s predominantly viewed the tales as fragmentary pre-Christian Celtic mythology and they are now seen as a sophisticated narrative tradition, both oral and written, with ancestral construction from oral storytelling, and overlay from Anglo-French influences. The first modern publications were English translations of several tales by William Owen Pughe in journals 1795,1821,1829, however it was Lady Charlotte Guest 1838–45 who first published the full collection, and bilingually in both Welsh and English. She is often assumed to be responsible for the name Mabinogion, indeed, as early as 1632 the lexicographer John Davies quotes a sentence from Math fab Mathonwy with the notation Mabin. in his Antiquae linguae Britannicae. The later Guest translation of 1877 in one volume, has been widely influential, the most recent translation is a compact version by Sioned Davies. John Bollard has published a series of volumes between with his own translation, with photography of the sites in the stories. The tales continue to inspire new fiction, dramatic retellings, visual artwork, the name first appears in 1795 in William Owen Pughes translation in the journal Cambrian Register, The Mabinogion, or Juvenile Amusements, being Ancient Welsh Romances. The name appears to have been current among Welsh scholars of the London-Welsh Societies and it was inherited as the title by the first publisher of the complete collection, Lady Charlotte Guest. The form mabynnogyon occurs once at the end of the first of the Four Branches of the Mabinogi in one manuscript and it is now generally agreed that this one instance was a mediaeval scribal error which assumed mabinogion was the plural of mabinogi. But mabinogi is already a Welsh plural, which occurs correctly at the end of the three branches. The word mabinogi itself is something of a puzzle, although derived from the Welsh mab. Eric P. Hamp of the school traditions in mythology, found a suggestive connection with Maponos the Divine Son. Mabinogi properly applies only to the Four Branches, which is a tightly organised quartet very likely by one author, each of these four tales ends with the colophon thus ends this branch of the Mabinogi, hence the name. Lady Charlotte Guests work was helped by the research and translation work of William Owen Pughe
22.
Sophus Bugge
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Sophus Bugge was a noted Norwegian philologist and linguist. His scholarly work was directed to the study of runic inscriptions, Bugge is best known for his theories and his work on the runic alphabet and the Poetic Edda and Prose Edda. Elseus Sophus Bugge was born in Larvik, in Vestfold county and his ancestors had been merchants, ship owners and captains of the Larvik for several generations. Bugge was a cand. mag. and research fellow in comparative linguistics and he was educated in Christiania, Copenhagen and Berlin. In 1866 he became professor of philology, comparative Indo-European linguistics. His scientific work was of importance for the Norse philology. In his 1880 work Studies about the origin of Nordic mythological and heroic tales, Bugge theorized that all myths in Old Norse literature derive from Christian. Bugges theories were generally rejected, but have had some influence. Bugge was the author of a large number of books on philology. His principal work, an edition of the Poetic Edda, was published at Christiania in 1867. He maintained that the Eddic poems and the sagas were largely founded on Christian. Dating from 1902, Bugges vision was so poor that he could no longer read, Professor and linguist Magnus Olsen, who was Bugges assistant and his successor, would read and describe new discoveries of inscriptions. Bugges final works regarding original rune scripture were not completed before he died and they were released between 1910 and 1913 through the efforts of Professor Olsen. Bugge was a member of the Scientific Society of Christiania from 1858, The Royal Norwegian Scientific Society in Trondheim and he was made honorary doctor at Uppsala University in 1877. He was appointed a Knight of the Royal Norwegian Order of St. Olav in 1877, Bugge was married during 1869 to Karen Sophie Schreiner. His son Alexander Bugge became a noted historian, gamle norske Folkeviser Norrøne Skrifter af sagnhistorisk Indhold Norrœn Fornkvæði Fortale XLVI, Argument against Hrafna-galdr Óðins. Studier over de nordiske Gude- og Heltesagns Oprindelse, indledning, Runeskriftens Oprindelse og ældste Historie, 1905–13 Der Runenstein von Rök in Östergötland,1910 Simek, Rudolf translated by Angela Hall. ISBN 0-85991-513-1 This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Bugge
23.
Valhalla
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In Norse mythology, Valhalla is a majestic, enormous hall located in Asgard, ruled over by the god Odin. Chosen by Odin, half of those who die in combat travel to Valhalla upon death, led by valkyries, while the other half go to the goddess Freyjas field Fólkvangr. In Valhalla, the join the masses of those who have died in combat known as Einherjar and various legendary Germanic heroes and kings. Before the hall stands the golden tree Glasir, and the ceiling is thatched with golden shields. Various creatures live around Valhalla, such as the stag Eikþyrnir, the Modern English noun Valhalla derives from Old Norse Valhöll, a compound noun composed of two elements, the masculine noun valr the slain and the feminine noun höll hall. Valr has cognates in other Germanic languages such as Old English wæl the slain, slaughter, carnage, Old Saxon wal-dād murder, Old High German battlefield, all of these forms descend from the Proto-Germanic masculine noun *walaz. Among related Old Norse concepts, valr also appears as the first element of the nouns valkyrja chooser of the slain, valkyrie and Valfreyja, the second element, höll, is a common Old Norse noun. It is cognate to Modern English hall and has the same meaning, both developed from Proto-Germanic *xallō or *hallō, meaning covered place, hall, itself from the Proto-Indo-European root *kol-. In stanzas 8 to 10 of Grímnismál, the god Odin states that Valhalla is located in the realm of Glaðsheimr, Odin describes Valhalla as shining and golden, and that it rises peacefully when seen from afar. From Valhalla, every day Odin chooses from those who have died in combat. Valhalla has spear-shafts for rafters, a roof thatched with shields, coats of mail are strewn over its benches, a wolf hangs in front of its west doors, and an eagle hovers above it. Within Valhalla exists Thors hall Bilskirnir, and within it exist five hundred and forty rooms, in stanzas 25 through 26, Odin states that the goat Heiðrún and the hart Eikþyrnir stand on top of Valhalla and graze on the branches of the tree Læraðr. Heiðrún produces vats of mead that liquor cannot be compared to, in stanza 38 of the poem Helgakviða Hundingsbana II, the hero Helgi Hundingsbane dies and goes to Valhalla. Prose follows after this stanza, stating that a burial-mound was made for Helgi, in stanzas 40 to 42, Helgi has returned to Midgard from Valhalla with a host of men. An unnamed maid of Sigrún, Helgis valkyrie wife, sees Helgi, the maid asks if she is experiencing a delusion, if Ragnarök has begun, or if Helgi and his men have been allowed to return. In the stanzas that follow, Helgi responds that none of things have occurred. The maid tells Sigrún that the mound has opened up, and that Sigrún should go to Helgi there, as Helgi has asked her to come and tend his wounds. Sigrún goes into the mound, and finds that Helgi is drenched in gore, filled with joy at the reunion, Sigrún kisses him before he can remove his coat of mail, and asks how she can heal him
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Norway
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The Antarctic Peter I Island and the sub-Antarctic Bouvet Island are dependent territories and thus not considered part of the Kingdom. Norway also lays claim to a section of Antarctica known as Queen Maud Land, until 1814, the kingdom included the Faroe Islands, Greenland, and Iceland. It also included Isle of Man until 1266, Shetland and Orkney until 1468, Norway has a total area of 385,252 square kilometres and a population of 5,258,317. The country shares a long border with Sweden. Norway is bordered by Finland and Russia to the north-east, Norway has an extensive coastline, facing the North Atlantic Ocean and the Barents Sea. King Harald V of the Dano-German House of Glücksburg is the current King of Norway, erna Solberg became Prime Minister in 2013, replacing Jens Stoltenberg. A constitutional monarchy, Norway divides state power between the Parliament, the Cabinet and the Supreme Court, as determined by the 1814 Constitution, the kingdom is established as a merger of several petty kingdoms. By the traditional count from the year 872, the kingdom has existed continuously for 1,144 years, Norway has both administrative and political subdivisions on two levels, counties and municipalities. The Sámi people have an amount of self-determination and influence over traditional territories through the Sámi Parliament. Norway maintains close ties with the European Union and the United States, the country maintains a combination of market economy and a Nordic welfare model with universal health care and a comprehensive social security system. Norway has extensive reserves of petroleum, natural gas, minerals, lumber, seafood, the petroleum industry accounts for around a quarter of the countrys gross domestic product. On a per-capita basis, Norway is the worlds largest producer of oil, the country has the fourth-highest per capita income in the world on the World Bank and IMF lists. On the CIAs GDP per capita list which includes territories and some regions, from 2001 to 2006, and then again from 2009 to 2017, Norway had the highest Human Development Index ranking in the world. It also has the highest inequality-adjusted ranking, Norway ranks first on the World Happiness Report, the OECD Better Life Index, the Index of Public Integrity and the Democracy Index. Norway has two names, Noreg in Nynorsk and Norge in Bokmål. The name Norway comes from the Old English word Norðrveg mentioned in 880, meaning way or way leading to the north. In contrasting with suðrvegar southern way for Germany, and austrvegr eastern way for the Baltic, the Anglo-Saxon of Britain also referred to the kingdom of Norway in 880 as Norðmanna land. This was the area of Harald Fairhair, the first king of Norway, and because of him
25.
Eric Bloodaxe
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Eric Haraldsson, nicknamed Eric Bloodaxe, was a 10th-century Norwegian ruler. He is thought to have had short-lived terms as King of Norway, historians have reconstructed a narrative of Erics life and career from the scant available historical data. This identification has been rejected recently by the historian Claire Downham and this argument, though respected by other historians in the area, has not produced consensus. Contemporary or near-contemporary sources include different recensions of the Anglo-Saxon Chronicle, Erics coinage, the Life of St Cathróe, such sources reproduce only a hazy image of Erics activities in Anglo-Saxon England. Current opinion veers towards a critical attitude towards the use of sagas as historical sources for the period before the 11th century. Erics soubriquet blóðøx, ‘Bloodaxe’ or Bloody-axe, is of uncertain origin, the sagas usually explain it as referring to Erics slaying of his half-brothers in a ruthless struggle to monopolise his rule over Norway, Theodoricus gives the similar nickname fratrum interfector. Fagrskinna, on the hand, ascribes it to Erics violent reputation as a Viking raider. The Anglo-Saxon Chronicle describes Eric laconically as ‘Harold’s son’, perhaps assuming some familiarity on the readers part, in the early part of the 12th century, John of Worcester had reason to believe that Eric was of royal Scandinavian stock. One of Egills lausavísur speaks of an encounter in England with a man of Haralds line, while the Arinbjarnarkviða envisages a ruler at York who is a descendant of Halfdán and of the Yngling dynasty. If genuine, the latter identification would form the only clue in the contemporary record which might link Eric with the Norwegian dynasty. Another Haraldr known from this period is Aralt mac Sitric, king of Limerick and this may be relevant, since both these brothers and a certain Eric have been described as rulers of the Isles. In a letter addressed to Pope Boniface VIII, King Edward I remembered a certain Eric as having been a king of Scotland subject to the English king, in the 19th century, a case had also been made for Harald Bluetooth King of Denmark as being Erics true father. J. M. Lappenberg and Charles Plummer, for instance, when the latter had subjugated the island, he was in the end betrayed and killed by the Northumbrians. Even if Erics rise and fall had been the inspiration for the story, in the account cited in full below, Roger of Wendover says that Eric was killed by a certain Maccus – elsewhere a son of Olaf – together with his son Haeric and brother Ragnald. Harald Fairhair is usually portrayed as a polygamous and fertile king, while Erics mother remains anonymous in the synoptic histories and most of the Icelandic sagas, the Heimskringla claims that she was Ragnhildr, daughter of Eric, king of Jutland. It tells that Harald chose the lady from Denmark / broke with his Rogaland loves / and his lemans of Horthaland, / the maidens of Hálogaland /, in the Flateyjarbók, it is preceded by another stanza which refers to the handmaidens of Ragnhildr as witnesses of the event. However, it is uncertain whether her name was already in the original composition, whatever one makes of the discrepancy, the sagas – including Heimskringla – are unanimous in making Haakon Erics younger half-brother and successor. According to Heimskringla and Egils saga, Eric spent much of his childhood in fosterage with the hersir Thórir son of Hróald
26.
Sigmund
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In Norse mythology, Sigmund is a hero whose story is told in the Völsunga saga. He and his sister, Signý, are the children of Völsung, Sigmund is best known as the father of Sigurð the dragon-slayer, though Sigurðs tale has almost no connections to the Völsung cycle. In the Völsunga saga, Signý marries Siggeir, the king of Gautland, Völsung and Sigmund are attending the wedding feast, when Odin, disguised as a beggar, plunges a sword into the living tree Barnstokk around which Völsungs hall is built. The disguised Odin announces that the man who can remove the sword will have it as a gift, only Sigmund is able to free the sword from the tree. Siggeir is smitten with envy and desire for the sword and he tries to buy it but Sigmund refuses. Siggeir invites Sigmund, his father Völsung and Sigmunds nine brothers to him in Gautland to see the newlyweds three months later. When the Völsung clan arrive, they are attacked by the Gauts, King Völsung is killed, Signý beseeches her husband to spare her brothers and to put them in stocks instead of killing them. As Siggeir thinks that the brothers deserve to be tortured before they are killed and he then lets his shapeshifting mother turn into a wolf and devour one of the brothers each night. During that time, Signý tries various ruses but fails every time until only Sigmund remains, Sigmund then escapes his bonds and hides in the forest. Signý brings Sigmund everything he needs, bent on revenge for their fathers death, she also sends her sons to him in the wilderness, one by one, to be tested. As each fails, she urges Sigmund to kill them, until one day when he refuses to continue killing innocent children, finally, in despair, she comes to him in the guise of a völva and conceives a child by him, Sinfjötli. Sinfjötli, born of their incest, passes the test, Sigmund and his son/nephew, Sinfjötli, grow wealthy as outlaws. In their wanderings, they come upon men sleeping in cursed wolf skins, upon killing the men and putting on the wolf skins, they are cursed with a type of lycanthropy. Eventually, they avenge the death of Völsung, after Signý dies, Sigmund and Sinfjötli go harrying together. Sigmund marries a woman named Borghild and has two sons, one of them named Helgi, Sinfjötli slays Borghilds brother while vying for a woman they both want. Borghild avenges her brother by poisoning Sinfjötli, later, Sigmund marries a woman named Hjördís. After a short time of peace, Sigmunds lands are attacked by King Lyngi, in battle, Sigmund matches up against an old man who is Odin in disguise. Odin shatters Sigmunds sword, and Sigmund falls at the hands of others, dying, he tells Hjördís that she is pregnant and that her son will one day make a great weapon out of the fragments of his sword
27.
Valkyrie
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In Norse mythology, a valkyrie is one of a host of female figures who choose those who may die in battle and those who may live. Selecting among half of those who die in battle, the valkyries bring their chosen to the hall of the slain, Valhalla. There, the deceased warriors become einherjar, when the einherjar are not preparing for the events of Ragnarök, the valkyries bear them mead. They appear throughout the poetry of skalds, in a 14th-century charm, scholarly theories have been proposed about the relation between the valkyries, the norns, and the dísir, all of which are supernatural figures associated with fate. Archaeological excavations throughout Scandinavia have uncovered amulets theorized as depicting valkyries, in modern culture, valkyries have been the subject of works of art, musical works, video games and poetry. The word valkyrie derives from Old Norse valkyrja, which is composed of two words, the noun valr and the verb kjósa, together, they mean chooser of the slain. The Old Norse valkyrja is cognate to Old English wælcyrge, from the Old English and Old Norse forms, philologist Vladimir Orel reconstructs a Proto-Germanic form, *wala-kuzjōn. However, the term may have been borrowed into Old English from Old Norse, other terms for valkyries in Old Norse sources include óskmey, appearing in the poem Oddrúnargrátr and Óðins meyjar, appearing in the Nafnaþulur. Óskmey may be related to the Odinic name Óski, referring to the fact that Odin receives slain warriors in Valhalla, valkyries are mentioned or appear in the Poetic Edda poems Völuspá, Grímnismál, Völundarkviða, Helgakviða Hjörvarðssonar, Helgakviða Hundingsbana I, Helgakviða Hundingsbana II and Sigrdrífumál. In stanza 30 of the poem Völuspá, a völva tells Odin that she saw valkyries coming from far away who are ready to ride to the realm of the gods. The völva follows this with a list of six valkyries, Skuld who bore a shield, Skögul, Gunnr, Hildr, afterwards, the völva tells him she has listed the ladies of the War Lord, ready to ride, valkyries, over the earth. A prose introduction in the poem Völundarkviða relates that the brothers Slagfiðr, Egil, there, early one morning, the brothers find three women spinning linen on the shore of the lake Úlfsjár, and near them were their swans garments, they were valkyries. Two, daughters of King Hlödvér, are named Hlaðguðr svanhvít and Hervör alvitr, the brothers take the three women back to their hall with them—Egil takes Ölrún, Slagfiðr takes Hlaðguðr svanhvít and Völund takes Hervör alvitr. They live together for seven winters, until the women fly off to go to a battle, Egil goes off in snow-shoes to look for Ölrún, Slagfiðr goes searching for Hlaðguðr svanhvít and Völund sits in Úlfdalir. He finds one particularly striking, this valkyrie is detailed later in a narrative as Sváva, king Eylimis daughter. The valkyrie speaks to the man, and gives him the name Helgi. The valkyrie tells him she knows of a hoard of swords in Sigarsholm, and that one of them is of particular importance, further into the poem, Atli flytes with the female jötunn Hrímgerðr. After Hrímgerðr is turned to stone by the daylight, a prose narrative continues that Helgi, Helgi and Sváva are betrothed and love one another dearly
28.
Ragnar Lodbrok
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Ragnar Lodbrok or Lothbrok was a legendary viking leader and hero of Old Norse poetry and sagas from the Viking age. According to this literature, Ragnar distinguished himself by many raids against Francia and Anglo-Saxon England. According to the antiquarian Hilda Ellis Davidson, writing in 1980, as a figure of legend whose life only partially took place in times and places covered by written sources, the extent of Ragnars historicity is not quite clear. That is why many acts ascribed to Ragnar in the Gesta can be associated, through other sources, with various figures, some of which are more historically certain. So far, attempts to link the legendary Ragnar with one or several of those men have failed because of the difficulty in reconciling the various accounts
29.
Gefjon
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The Prose Edda and Heimskringla both report that Gefjon plowed away what is now lake Mälaren, Sweden, and with this land formed the island of Zealand, Denmark. In addition, the Prose Edda describes that not only is Gefjon a virgin herself, Heimskringla records that Gefjon married the legendary Danish king Skjöldr and that the two dwelled in Lejre, Denmark. The etymology of theonym Gefjon has been a matter of dispute, in modern scholarship, the element Gef- is generally held to be related to the element Gef- in the name Gefn, one of the numerous names for the goddess Freyja, and likely means she who gives. The connection between the two names has resulted in etymological interpretation of Gefjun as the giving one, the names Gefjun and Gefn are both related to the Matron groups the Alagabiae or Ollogabiae. Albert Murey Sturtevant notes that the other feminine personal name which contains the suffix -un is Njǫr-un, recorded only in the þulur. Whatever the stem syllable Njǫr- represents, the addition of the n- and un-suffixes seems to furnish an exact parallel to Gef-n, a Finnish word for brides outfit, trousseau may derive from Gefjons name. In the Poetic Edda, Gefjon appears solely in three stanzas of the poem Lokasenna, where an exchange occurs between Gefjun and Loki at a dinner feast, and the god Odin comes to Gefjons defense. Henry Adams Bellows comments that the text for these two lines is puzzling and that as a result they have been freely amended. This woman was of the race of the Æsir and her name was Gefjun, Gefjun took four oxen from Jötunheimr in the north. These oxen were her sons from a jötunn, gefjuns plough cut so hard and deep that it uprooted the land, and the oxen drew the land out into the sea to the west and halted in a certain sound. Gefjun there placed the land, and bestowed upon it the name Zealand, where the land had been taken from a lake stands. As a reference, the prose account presents a stanza from a work attributed to the 9th century skald Bragi Boddason, Gefjun dragged from Gylfi, denmarks increase, steam rising from the swift-footed bulls. The oxen bore eight moons of the forehead and four heads, in chapter 35 of Gylfaginning, the enthroned figure of High presents a list of goddesses. High presents Gefjun fourth, and says that Gefjun is a virgin, in relation, High notes that, like Gefjun, the goddess Fulla is also a virgin. At the beginning of the Prose Edda book Skáldskaparmál, Gefjun is listed among nine goddesses who attend a banquet for Ægir on the island of Hlesey, in chapter 32, Gefjun is listed among six goddesses who attend a party held by Ægir. In chapter 75, Gefjun is included among a list of 27 ásynjur names, in addition, Gefjun appears in a kenning for the völva Gróa employed in the skald Þjóðólfr of Hvinirs composition Haustlöng as quoted in chapter 17 of Skáldskaparmál. In chapter 5 of Ynglinga saga, a prose account relates that Odin sent Gefjun from Odense. There, Gefjun encountered king Gylfi and he gave her ploughland, Gefjun went to the land of Jötunheimr, and there bore four sons to a jötunn
