1.
Carl Emil Doepler
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Carl Emil Doepler was a German painter, illustrator and costume designer. He created the costumes for Richard Wagners opera Der Ring des Nibelungen at the Bayreuther Festspiele in 1876 and his son, Emil Doepler, was also an artist. List of German painters Simek, Rudolf translated by Angela Hall, brewer ISBN 0-85991-513-1 Illustrations for Nordisch-Germanische Götter und Helden by Wilhelm Wägner and Jakob Nover,1882. Selected Costume Designs for the performance of Richard Wagners Der Ring des Nibelingen
2.
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
3.
Norse cosmology
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The cosmology of Norse mythology has nine homeworlds or nine realms, unified by the world tree Yggdrasil. Mapping the nine worlds escapes precision because the Poetic Edda often alludes vaguely, the Norse creation myth tells how everything came into existence in the gap between fire and ice, and how the gods shaped the homeworld of humans. A cosmic ash tree, Yggdrasil, lies at the center of the Norse cosmos. Three roots drink the waters of the homeworlds, one in the homeworld of the gods, the Æsir, Asgard, one in the homeworld of the humans, Midgard, and one in the homeworld of the dead, Helheim. Beneath the root in the world of the frost giants is the spring of Mímir, whose waters contain wisdom, the root in the Æsir homeworld taps the sacred wellspring of fate, the Well of Urðr. The tree is tended by the Norns, who live near it, each day, they water it with pure water and whiten it with clay from the spring to preserve it. The water falls down to the earth as dew, animals continually feed on the tree, threatening it, but its vitality persists evergreen as it heals and nourishes the vibrant aggression of life. On the topmost branch of the tree sits an eagle, the beating of its wings cause the winds in the world of men. At the root of the tree lies a great dragon, Niðhǫggr, gnawing at it continuously, the squirrel Ratatoskr carries insults from one to the other. Harts and goats devour the branches and tender shoots, in the beginning, there were two regions, Muspelheim in the south, full of fire, light and heat, and Niflheim in the north, full of arctic waters, mists, and cold. Between them stretched the yawning emptiness of Ginnungagap, and into it poured sparks and smoke from the south and layers of rime, as heat and cold met in Ginnungagap, a living jǫtunn, Ymir, appeared in the melting ice. From his left armpit, the first man and woman were born, from his legs, the frost jötnar were born, making Ymir the progenitor of the jǫtnar. Most sources identify Ymirs oldest son as Þrúðgelmir, who bore Ymirs grandson, the other jǫtnar are usually unnamed. Ymir fed on the milk of the cow Auðumbla and she licked the blocks of salty ice, releasing Búri. Búris son Borr had three sons, the gods Odin, Vili and Vé, the three slew Ymir, and all of the jötnar except for Bergelmir and his wife, who were drowned in the blood of the others. From Ymirs body, they made the world of humans, his blood the seas and lakes, his flesh the earth, his bones the mountains and his teeth the rocks. From his skull they made the dome of the sky, setting a dwarf at each of the four corners to hold it high above the earth and they protected it from the jötnar with a wall made from Ymirs eyebrows. Next they caused time to exist, and placed the orbs of the sun, Odin, passing through the world of the jötnar, found two beautiful young giants named Sól and Máni, sun and moon
4.
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
5.
Old Norse
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Old Norse was a North Germanic language that was spoken by inhabitants of Scandinavia and inhabitants of their overseas settlements during about the 9th to 13th centuries. These dates, however, are not absolute, since written Old Norse is found well into the 15th century, Old Norse was divided into three dialects, Old West Norse, Old East Norse and Old Gutnish. Old West and East Norse formed a continuum, with no clear geographical boundary between them. For example, Old East Norse traits were found in eastern Norway, although Old Norwegian is classified as Old West Norse, most speakers spoke Old East Norse in what is present day Denmark and Sweden. Old Gutnish, the more obscure dialectal branch, is included in the Old East Norse dialect due to geographical associations. It developed its own features and shared in changes to both other branches. The 12th century Icelandic Gray Goose Laws state that Swedes, Norwegians, Icelanders and Danes spoke the same language, another term used, used especially commonly with reference to West Norse, was norrœnt mál. In some instances the term Old Norse refers specifically to Old West Norse, the Old East Norse dialect was spoken in Denmark, Sweden, settlements in Kievan Rus, eastern England, and Danish settlements in Normandy. The Old Gutnish dialect was spoken in Gotland and in settlements in the East. In the 11th century, Old Norse was the most widely spoken European language, in Kievan Rus, it survived the longest in Veliky Novgorod, probably lasting into the 13th century there. Norwegian is descended from Old West Norse, but over the centuries it has heavily influenced by East Norse. Old Norse also had an influence on English dialects and Lowland Scots and it also influenced the development of the Norman language, and through it and to a smaller extent, that of modern French. Various other languages, which are not closely related, have heavily influenced by Norse, particularly the Norman dialects, Scottish Gaelic. The current Finnish and Estonian words for Sweden are Ruotsi and Rootsi, of the modern languages, Icelandic is the closest to Old Norse. Written modern Icelandic derives from the Old Norse phonemic writing system, contemporary Icelandic-speakers can read Old Norse, which varies slightly in spelling as well as semantics and word order. However, pronunciation, particularly of the phonemes, has changed at least as much as in the other North Germanic languages. Faroese retains many similarities but is influenced by Danish, Norwegian, although Swedish, Danish and the Norwegian languages have diverged the most, they still retain asymmetric mutual intelligibility. Speakers of modern Swedish, Norwegian and Danish can mostly understand each other without studying their neighboring languages, the languages are also sufficiently similar in writing that they can mostly be understood across borders
6.
Hoof
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A hoof, plural hooves or hoofs /ˈhʊfs/, is the tip of a toe of an ungulate mammal, strengthened by a thick, horny, keratin covering. Artiodactyls are even-toed ungulates, meaning that species have an even number of digits on each foot. Ruminants, with two digits, are the largest group. Examples include deer, bison, cattle, goats and sheep, perissodactyls have an odd number of toes. Examples of perissodactyl mammals are horses, rhinoceroses and tapirs, hooves are generally cited as limb structures restricted to placental mammals, which unlike other mammal groups undergo prolonged pregnancies. However, the marsupial Chaeropus had hooves, the hoof surrounds the distal end of the second phalanx, the distal phalanx, and the navicular bone. The hoof consists of the wall, the bars of the hoof. The weight of the animal is normally borne by both the sole and the edge of the hoof wall, numerous factors can affect hoof structure and health, including genetics, hoof conformation, environmental influences, and athletic performance of the animal. The ideal hoof has a parallel hoof-pastern axis, a hoof wall, adequate sole depth. There are four layers within the wall of the hoof. From the outside, a hoof is made up of the stratum externum, the medium, the stratum internum. The stratum externum and the medium are difficult to distinguish, the stratum externum is thin. Inside the hoof wall is a junction, a soft tissue structure that allows the hoof to withstand the demands of force transmission it undergoes. This tissue structure binds the surface of the hoof wall, the dermis parietis. Most even-toed ungulates have two main hooves on each foot, together called a cloven hoof, in the mountain goat, the dewclaw serves to provide extra traction when descending rocky slopes as well as additional drag on loose or slippery surfaces made of ice, dirt, or snow. Other cloven-hooved animals have no dewclaws, some odd-toed ungulates have one hoof on each foot, others have three distinct hooved or heavily nailed toes, or one hoof and two dewclaws. The tapir is a case, having three toes on each hind foot and four toes on each front foot. In nature, wild animals are capable of wearing down the hoof as it continuously grows, proper care improves biomechanical efficiency and prevents lameness
7.
Prose Edda
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The Prose Edda, also known as the Younger Edda, Snorris Edda or, historically, simply as Edda, is an Old Norse work of literature written in Iceland in the early 13th century. The work is assumed to have been written, or at least compiled, by the Icelandic scholar. It begins with a euhemerized Prologue, a section on the Norse cosmogony, pantheon and this is followed by three distinct books, Gylfaginning, Skáldskaparmál and Háttatal. Seven manuscripts, dating from around 1300 to around 1600, have independent textual value, Sturluson planned the collection as a textbook. It was to enable Icelandic poets and readers to understand the subtleties of alliterative verse, at that time, versions of the Edda were well known in Iceland, but scholars speculated that there once was an Elder Edda which contained the poems which Snorri quotes in his Edda. The etymology of Edda remains uncertain, there are many hypotheses, and little agreement. Some argue that the word derives from the name of Oddi, Edda could therefore mean book of Oddi. However, this assumption is generally rejected, Faulkes in his English translation of the Prose Edda commented that this is unlikely, both in terms of linguistics and history since Snorri was no longer living at Oddi when he composed his work. Another connection was made with the word óðr, which means poetry or inspiration in Old Norse, Edda also means great-parent, a word used by Snorri himself in the Skáldskaparmál. That is, with the meaning, the name of a character in the Rigsthula. A final hypothesis is derived from the Latin edo, meaning I write and it relies on the fact that the word kredda is certified and comes from the Latin credo, I believe. It seems likely Snorri would have been able to invent the word, Edda in this case could be translated as Poetic Art. This is the meaning that the word was given in the Middle Ages. The name Sæmundar Edda was given by the Bishop Brynjólfur Sveinsson to the collection of poems contained in the Codex Regius, many of which are quoted by Snorri. Brynjólfur, along many others of his time incorrectly believed that they were collected by Sæmundr fróði. Seven manuscripts of the Edda have survived, six compositions of the Middle Ages, no one manuscript is complete, and each has variations. In addition to three fragments, the four manuscripts are Codex Regius, Codex Wormianus, Codex Trajectinus. Codex Upsaliensis, was composed in the first quarter of the century and is the oldest manuscript preserved of the Edda of Snorri
8.
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
9.
Pheme
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In Greek mythology, Pheme, also known as Ossa, was the personification of fame and renown, her favour being notability, her wrath being scandalous rumors. She was a daughter either of Gaia or of Elpis, was described as she who initiates, in art, she was usually depicted with wings and a trumpet. In Roman mythology, Fama was described as having multiple tongues, eyes, ears and feathers by Virgil, Virgil wrote that she had her feet on the ground, and her head in the clouds, making the small seem great and the great seem greater. The Greek word pheme is related to ϕάναι to speak and can mean fame, report, the Latin word fama, with the same range of meanings, is related to the Latin fari, and is, through French, the etymon of the English fame. Polychronion Smith, William, Dictionary of Greek and Roman Biography and Mythology, theoi Greek Mythology -- Pheme Fama
10.
Roman mythology
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Roman mythology is the body of traditional stories pertaining to ancient Romes legendary origins and religious system, as represented in the literature and visual arts of the Romans. Roman mythology may also refer to the study of these representations. The Romans usually treated their traditional narratives as historical, even when these have miraculous or supernatural elements, the stories are often concerned with politics and morality, and how an individuals personal integrity relates to his or her responsibility to the community or Roman state. When the stories illuminate Roman religious practices, they are concerned with ritual, augury. Romes early myths and legends also have a relationship with Etruscan religion. In particular, the versions of Greek myths in Ovids Metamorphoses, written during the reign of Augustus, because ritual played the central role in Roman religion that myth did for the Greeks, it is sometimes doubted that the Romans had much of a native mythology. This perception is a product of Romanticism and the scholarship of the 19th century. From the Renaissance to the 18th century, however, Roman myths were an inspiration particularly for European painting, the Roman tradition is rich in historical myths, or legends, concerning the foundation and rise of the city. These narratives focus on human actors, with only occasional intervention from deities, in Romes earliest period, history and myth have a mutual and complementary relationship. As T. P. Wiseman notes, The Roman stories still matter, as they mattered to Dante in 1300 and Shakespeare in 1600, what does it take to be a free citizen. Can a superpower still be a republic, how does well-meaning authority turn into murderous tyranny. Major sources for Roman myth include the Aeneid of Vergil and the first few books of Livys history as well as Dionysius s Roman Antiquities. Other important sources are the Fasti of Ovid, a six-book poem structured by the Roman religious calendar, scenes from Roman myth also appear in Roman wall painting, coins, and sculpture, particularly reliefs. The Aeneid and Livys early history are the best extant sources for Romes founding myths, material from Greek heroic legend was grafted onto this native stock at an early date. By extension, the Trojans were adopted as the ancestors of the Roman people. Rape of the Sabine women, explaining the importance of the Sabines in the formation of Roman culture, numa Pompilius, the Sabine second king of Rome who consorted with the nymph Egeria and established many of Romes legal and religious institutions. Servius Tullius, the king of Rome, whose mysterious origins were freely mythologized. The Tarpeian Rock, and why it was used for the execution of traitors, lucretia, whose self-sacrifice prompted the overthrow of the early Roman monarchy and led to the establishment of the Republic
11.
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
12.
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
13.
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
14.
Asgard
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In Norse religion, Asgard is one of the Nine Worlds and home to the Æsir tribe of gods. It is surrounded by an incomplete wall attributed to a Hrimthurs riding the stallion Svaðilfari, Odin and his wife, Frigg, are the rulers of Asgard. One of Asgards well known locations is Valhalla, in which Odin rules, völuspá, the first poem of the work, mentions many of the features and characters of Asgard portrayed by Snorri, such as Yggdrasil and Iðavöllr. The Prose Edda presents two views regarding Asgard, in the Prologue Snorri offers an euhemerized and Christian-influenced interpretation of the myths and tales of his forefathers. Snorris interpretation of the 13th century foreshadows 20th-century views of Indo-European migration from the east, Snorri further writes that Asgard is a land more fertile than any other, blessed also with a great abundance of gold and jewels. Correspondingly, the Æsir excelled beyond all other people in strength, beauty, Snorri proposes the location of Asgard as Troy, the center of the earth. About it were 12 kingdoms and 12 chiefs, one of them, Múnón, married Priams daughter, Tróán, and had by her a son, Trór, to be pronounced Thor in Old Norse. The latter was raised in Thrace, at age 12 he was whiter than ivory, had hair lighter than gold, and could lift 10 bear skins at once. His father, Odin, led a migration to the northern lands, one of the sons of Odin was Yngvi, founder of the Ynglingar, an early royal family of Sweden. In Gylfaginning, Snorri presents the mythological version, taken no doubt from his sources, icelanders were still being converted at that time. He could not present the myths as part of any current belief, instead he resorts to a debunking device, Gylfi, king of Sweden before the Æsir, travels to Asgard and finds there a large hall in Section 2. Within are three officials, whom Gylfi in the guise of Gangleri is allowed to question about the Asgard and the Æsir. A revelation of the ancient myths follows, but at the end the palace, in Gylfis delusion, ancient Asgard was ruled by the senior god, the all-father, who had twelve names. He was the ruler of everything and the creator of heaven, the sons of Bor then constructed Asgard as a home for the Æsir, who were divinities. Odin is identified as the all-father, Asgard is conceived as being on the earth. A rainbow bridge, Bifröst, connects it to heaven, in Asgard also is a temple for the 12 gods, Gladsheim, and another for the 12 goddesses, Vingólf. The plain of Idavoll is the centre of Asgard, the gods hold court there every day at the Well of Urd, beneath an ash tree, Yggdrasil, debating the fates of men and gods. The more immediate destinies of men are assigned by the Norns and it also states Thor is a god as well
15.
Midgard
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Midgard is the name for Earth inhabited by and known to humans in early Germanic cosmology, and specifically one of the Nine Worlds in Norse mythology. This name occurs in Old Norse literature as Miðgarðr, in Old Saxon Heliand it appears as Middilgard and in Old High German poem Muspilli it appears as Mittilagart. The Gothic form Midjungards is attested in the Gospel of Luke as a translation of the Greek word οἰκουμένη, the word is present in Old English epic and poetry as Middangeard, later transformed to Middellærd or Mittelerde in Middle English literature. All these forms are from a Common Germanic *midja-gardaz, a compound of *midja- middle and *gardaz yard, in early Germanic cosmology, the term stands alongside world, from a Common Germanic compound *wira-alđiz literally the age of men. Midgard is a realm in Norse mythology and it is one of the Nine Worlds of North Mythology—the only one that is completely visible to mankind. Pictured as placed somewhere in the middle of Yggdrasil, Midgard is between the land of Niflheim—the land of ice—to the north and Muspelheim—the land of fire—to the south, Midgard is surrounded by a world of water, or ocean, that is impassable. The ocean is inhabited by the sea serpent Jörmungandr, who is so huge that he encircles the world entirely. The concept is similar to that of the Ouroboros, Midgard was also connected to Asgard, the home of the gods, by the Bifröst, the rainbow bridge, guarded by Heimdallr. Aurgelmirs skull was held by four dwarfs, Nordri, Sudri, Austri, and Vestri, the sun, moon, and stars were said to be scattered sparks in the skull. According to the Eddas, Midgard will be destroyed at Ragnarök, Jörmungandr will arise from the ocean, poisoning the land and sea with his venom and causing the sea to rear up and lash against the land. The name middangeard occurs half a dozen times in the Old English epic poem Beowulf, the term is equivalent in meaning to the Greek term Oikoumene, as referring to the known and inhabited world. The concept of Midgard occurs many times in Middle English, the association with earth in Middle English middellærd, middelerde is by popular etymology, the continuation of geard enclosure is yard. An early example of transformation is from the Ormulum, þatt ure Drihhtin wollde / ben borenn i þiss middellærd that our Lord wanted / be born in this middle-earth
16.
Jacob Grimm
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Jacob Ludwig Carl Grimm was a German philologist, jurist, and mythologist. Jacob Grimm was born in Hanau, in Hesse-Kassel and his father, Philipp Grimm, was a lawyer, but he died while Jacob was a child, and his mother was left with very small means. His mothers sister was lady of the chamber to the Landgravine of Hesse, Jacob was sent to the public school at Kassel in 1798 with his younger brother Wilhelm. In 1802, he proceeded to the University of Marburg where he studied law and his brother joined him at Marburg a year later, having just recovered from a long and severe illness, and likewise began the study of law. Up to this time, Jacob Grimm had been driven only by a general thirst for knowledge, savignys lectures also awakened in him a love for historical and antiquarian investigation, which forms the structure of all his work. In the beginning of 1805, he received an invitation from Savigny, Grimm passed a very happy time in Paris, strengthening his taste for the literatures of the Middle Ages by his studies in the Paris libraries. Towards the close of the year, he returned to Kassel, where his mother and Wilhelm had settled, the next year, he obtained a position in the war office with the very small salary of 100 thalers. One of his grievances was that he had to exchange his stylish Paris suit for a stiff uniform, but he had full leisure for the pursuit of his studies. In 1808, soon after the death of his mother, he was appointed superintendent of the library of Jérôme Bonaparte, King of Westphalia. Bonaparte appointed him an auditor to the council, while Grimm retained his superintendent post. His salary was increased in a period of time from 2000 to 4000 francs. After the expulsion of Bonaparte and the reinstatement of an elector, Grimm was appointed Secretary of Legation in 1813, accompanying the Hessian minister to the headquarters of the allied army. In 1814, he was sent to Paris to demand restitution of books carried off by the French, upon his return from Vienna, he was sent to Paris a second time to secure book restitutions. Meanwhile, Wilhelm had received an appointment to the Kassel library, consequently, they moved the following year to Göttingen, where Jacob received the appointment of professor and librarian, and Wilhelm that of under-librarian. Jacob Grimm lectured on legal antiquities, historical grammar, literary history, and diplomatics, explained Old German poems, during this period, he is described as small and lively in figure, with a harsh voice, speaking a broad Hessian dialect. Grimm joined other academics who signed a protest against the King of Hanovers abrogation of the constitution which had established some years before. As a result, he was dismissed from his professorship and banished from the Kingdom of Hanover in 1837 and he returned to Kassel with his brother, who had also signed the protest. Jacob was not under any obligation to lecture and he seldom did so, during their time in Kassel, Jacob regularly attended the meetings of the academy, where he read papers on widely varied subjects
17.
Pegasus
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Pegasus is one of the best known creatures in Greek mythology. He is a winged divine stallion usually depicted as white in color. He was sired by Poseidon, in his role as horse-god and he was the brother of Chrysaor, born at a single birthing when his mother was decapitated by Perseus. Greco-Roman poets write about his ascent to heaven after his birth and his obeisance to Zeus, king of the gods, friend of the Muses, Pegasus is the creator of Hippocrene, the fountain on Mt. Helicon. He was captured by the Greek hero Bellerophon near the fountain Peirene with the help of Athena, Pegasus allows the hero to ride him to defeat a monster, the Chimera, before realizing many other exploits. His rider, however, falls off his back trying to reach Mount Olympus, Zeus transformed him into the constellation Pegasus and placed him up in the sky. Hypotheses have been proposed regarding its relationship with the Muses, the gods Athena, Poseidon, Zeus, Apollo, the symbolism of Pegasus varies with time. Pegasus is the subject of a rich iconography, especially through the ancient Greek pottery and paintings. The poet Hesiod presents an etymology of the name Pegasus as derived from πηγή pēgē spring, well, the pegai of Okeanos. A proposed etymology of the name is Luwian pihassas, meaning lightning, and Pihassassi, the proponents of this etymology adduce Pegasus role, reported as early as Hesiod, as bringer of thunderbolts to Zeus. It was first suggested in 1952 and remains widely accepted, according to legend, everywhere the winged horse struck his hoof to the earth, an inspiring spring burst forth. Hesiod relates how Pegasus was peacefully drinking from a spring when the hero Bellerophon captured him, Hesiod also says Pegasus carried thunderbolts for Zeus. In another version, when Perseus beheaded Medusa, they were born of the Earth, a variation of this story holds that they were formed from the mingling of Medusas blood, pain and sea foam, implying that Poseidon had involvement in their making. The last version bears resemblance to Hesiods account of the birth of Aphrodite from the foam created when Uranuss severed genitals were cast into the sea by Cronus, Pegasus aided the hero Bellerophon in his fight against both the Chimera. The next morning, still clutching the bridle, he found Pegasus drinking at the Pierian spring and caught Pegasus, michauds Biographie universelle relates that when Pegasus was born, he flew to where thunder and lightning are released. Then, according to versions of the myth, Athena tamed him and gave him to Perseus. In fact Pegasus is an addition to the story of Perseus. Pegasus and Athena left Bellerophon and continued to Olympus where he was stabled with Zeus other steeds, because of his faithful service to Zeus, he was honoured with transformation into a constellation
18.
Penguin Classics
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Penguin Classics is an imprint published by Penguin Books, a subsidiary of Penguin Random House. They are published in varying editions throughout the world including in Australia, Canada, China, India, Ireland, New Zealand, South Africa, South Korea, the United Kingdom, and the United States. The first Penguin Classic was E. V. Rieus translation of The Odyssey, published in 1946, Penguin Books has paid particular attention to the design of its books since recruiting German typographer Jan Tschichold in 1947. The early minimalist designs were modernised by Italian art director Germano Facetti, the new classics were known as Black Classics for their black covers, which also featured artwork appropriate to the topic and period of the work. This design was revised in 1985 to have pale yellow covers with a spine, colour-coded with a small mark to indicate language. In 2002, Penguin announced it was redesigning its entire catalogue, the redesign restored the black cover, adding a white stripe and orange lettering. The in-house text design department still exists, albeit smaller than formerly, and is managed by text designers Claire Mason and Lisa Simmonds. Recent design work includes the Penguin Little Black Classic series, Penguin Classics collaborated with Bill Amberg in 2008 in the design of six books. These books are bound in leather which was worked in a way that as the book is handled, the books also include their own leather bookmark, which is bound with the book title and author. It has been reported widely that the purpose for this approach by Penguin Classics is to target readers/collectors who would like a high-end book, within the broader category of Classics, Penguin has issued specialised series with their own designs. Some titles come with critical apparatus, Penguin 20th Century Classics, issued in the 1990s. They were folded into the Modern Classics imprint, presumably in 2000, 20th Century Classics feature full-page front cover art, with a light blue-and-white rear cover. These addenda were originally found in the Penguin Shakespeare editions of the 1930s, Popular Classics issued in the 1990s came with full cover art and a cream back, not unlike the Classics. Most Popular Classics reprinted in the 21st century have a plain and they were a response to Wordsworth Classics, a series of very cheap reprints which imitated Penguin in using black as its signature colour. The series echoes the style of the original Penguin Books, with smaller A-format size, the first 20 books were released in May 2016, and described by publishing director Simon Winder as a mix of the famous and the unjustly overlooked. In 2005, a collection of books in the series was sold on Amazon. com as The Penguin Classics Library Complete Collection. In 2005, the collection consisted of 1,082 different books, the collection weighed about 750 pounds and took about 77 linear feet of shelf space, laid end-to-end the books would reach about 630 feet. In 2008, Penguin Books published a complete annotated listing of all Penguin Classics titles in a paperback volume in the style of its Penguin Classics books
19.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
20.
Everyman's Library
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Everymans Library is a series of reprinted classic literature currently published in hardback by Random House. It was originally an imprint of J. M. Dent, J. M. Dent and Company began to publish the series in 1906. Dent followed the principles and to a certain extent the style established by William Morris in his Kelmscott Press. This was later replaced in 1935 by Eric Raviliouss designs, Everymans Library books were pocket-sized hardcovers that sold initially for what was then the remarkably low price of a shilling apiece. The original U. S. distribution rights were granted to New York City publishers, in 1910,500 books had been published under the Everyman trademark, and in 1956 the thousandth volume was published, with Aristotles Metaphysics selected for the honour. By 1975, Dents vision had been surpassed, as Everymans Library consisted of 994 titles published in 1,239 volumes. The appropriate genre was printed inside and used to organize lists of the series issued from time to time, Knopf in the United States—a move which was praised by many notable authors. Control of Everymans Library passed to US-based Random House in 2002, the current membership of the Honorary Editorial Committee includes Harold Bloom, Henry Louis Gates, Jr. Toni Morrison, Cynthia Ozick and Simon Schama. J. M. Dent & Sons was acquired by Weidenfeld & Nicolson in 1988, itself acquired by the Orion Publishing Group in 1991, now both part of Hachette Livre. Not to be confused with Everymans Library, Orion continues to publish Everyman Classics in paperback under the J. M. Dent imprint in the UK and through Charles E. Tuttle Co. in the US. The name of the series was suggested by poet and editor Ernest Rhys, who was named head editor of the series initially. This quotation appears on the page of all Everymans Library. A notable addition to the library was an encyclopedia, which was added to the range in 1913. Individual volumes could be purchased separately, enabling the set to be budgeted over time, the fifth edition was published in 1967, by which time it consisted of 12 volumes, containing 7763 pages. The page size was 9 by 5 inches, but as the printing was 8 point, as a volume only weighed about 1¼ kg, it was considered a better size for use by children. Dictionary catalogue of the first 505 volumes of Everymans Library, london, J. M. Dent, New York, E. P. Annotated catalog of first 505 titles, buying and Selling Everymans Library, A Primer Complete Everymans Library Catalog, author list, dust jacket images, and other useful Everymans Library information
21.
Oxford University Press
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Oxford University Press is the largest university press in the world, and the second oldest after Cambridge University Press. It is a department of the University of Oxford and is governed by a group of 15 academics appointed by the known as the delegates of the press. They are headed by the secretary to the delegates, who serves as OUPs chief executive, Oxford University has used a similar system to oversee OUP since the 17th century. The university became involved in the print trade around 1480, and grew into a printer of Bibles, prayer books. OUP took on the project became the Oxford English Dictionary in the late 19th century. Moves into international markets led to OUP opening its own offices outside the United Kingdom, by contracting out its printing and binding operations, the modern OUP publishes some 6,000 new titles around the world each year. OUP was first exempted from United States corporation tax in 1972, as a department of a charity, OUP is exempt from income tax and corporate tax in most countries, but may pay sales and other commercial taxes on its products. The OUP today transfers 30% of its surplus to the rest of the university. OUP is the largest university press in the world by the number of publications, publishing more than 6,000 new books every year, the Oxford University Press Museum is located on Great Clarendon Street, Oxford. Visits must be booked in advance and are led by a member of the archive staff, displays include a 19th-century printing press, the OUP buildings, and the printing and history of the Oxford Almanack, Alice in Wonderland and the Oxford English Dictionary. The first printer associated with Oxford University was Theoderic Rood, the first book printed in Oxford, in 1478, an edition of Rufinuss Expositio in symbolum apostolorum, was printed by another, anonymous, printer. Famously, this was mis-dated in Roman numerals as 1468, thus apparently pre-dating Caxton, roods printing included John Ankywylls Compendium totius grammaticae, which set new standards for teaching of Latin grammar. After Rood, printing connected with the university remained sporadic for over half a century, the chancellor, Robert Dudley, 1st Earl of Leicester, pleaded Oxfords case. Some royal assent was obtained, since the printer Joseph Barnes began work, Oxfords chancellor, Archbishop William Laud, consolidated the legal status of the universitys printing in the 1630s. Laud envisaged a unified press of world repute, Oxford would establish it on university property, govern its operations, employ its staff, determine its printed work, and benefit from its proceeds. To that end, he petitioned Charles I for rights that would enable Oxford to compete with the Stationers Company and the Kings Printer and these were brought together in Oxfords Great Charter in 1636, which gave the university the right to print all manner of books. Laud also obtained the privilege from the Crown of printing the King James or Authorized Version of Scripture at Oxford and this privilege created substantial returns in the next 250 years, although initially it was held in abeyance. The Stationers Company was deeply alarmed by the threat to its trade, under this, the Stationers paid an annual rent for the university not to exercise its full printing rights – money Oxford used to purchase new printing equipment for smaller purposes
22.
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
23.
Bragi
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Bragi is the skaldic god of poetry in Norse mythology. Bragi is generally associated with bragr, the Norse word for poetry, the name of the god may have been derived from bragr, or the term bragr may have been formed to describe what Bragi does. A connection between the name Bragi and Old English brego chieftain has been suggested but is now discounted. A connection between Bragi and the bragarfull promise cup is sometimes suggested, as bragafull, a form of the word. Snorri Sturluson writes in the Gylfaginning after describing Odin, Thor, and Baldr, One is called Bragi, he is renowned for wisdom, and most of all for fluency of speech and skill with words. He knows most of skaldship, and after him skaldship is called bragr, and from his name that one is called bragr-man or -woman, in Skáldskaparmál Snorri writes, How should one periphrase Bragi. By calling him husband of Iðunn, first maker of poetry, and the long-bearded god and that Bragi is Odins son is clearly mentioned only here and in some versions of a list of the sons of Odin. But wish-son in stanza 16 of the Lokasenna could mean Odins son and is translated by Hollander as Odins kin, Bragis mother is possibly the giantess Gunnlod. In that poem Bragi at first forbids Loki to enter the hall but is overruled by Odin, Loki then gives a greeting to all gods and goddesses who are in the hall save to Bragi. Bragi responds that if they were outside the hall, he would have Lokis head, when Bragis wife Iðunn attempts to calm Bragi, Loki accuses her of embracing her brothers slayer, a reference to matters that have not survived. It may be that Bragi had slain Iðunns brother, the meaning of this is obscure. The first part of Snorri Sturlusons Skáldskaparmál is a dialogue between Ægir and Bragi about the nature of poetry, particularly skaldic poetry, Bragi tells the origin of the mead of poetry from the blood of Kvasir and how Odin obtained this mead. He then goes on to discuss various poetic metaphors known as kennings, Snorri Sturluson clearly distinguishes the god Bragi from the mortal skald Bragi Boddason, whom he often mentions separately. Compare the appearance of the Welsh Taliesin in the branch of the Mabinogi. Legendary chronology sometimes does become muddled, whether Bragi the god originally arose as a deified version of Bragi Boddason was much debated in the 19th century, especially by the scholars Eugen Mogk and Sophus Bugge. In the poem Eiríksmál Odin, in Valhalla, hears the coming of the dead Norwegian king Eric Bloodaxe and his host, Bragi is then mentioned, questioning how Odin knows that it is Eric and why Odin has let such a king die. In the poem Hákonarmál, Hákon the Good is taken to Valhalla by the valkyrie Göndul and Odin sends Hermóðr, in these poems Bragi could be either a god or a dead hero in Valhalla. Attempting to decide is further confused because Hermóðr also seems to be sometimes the name of a god and that Bragi was also the first to speak to Loki in the Lokasenna as Loki attempted to enter the hall might be a parallel
24.
Dellingr
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In Norse mythology, Dellingr is a god. Dellingr is attested in the Poetic Edda, compiled in the 13th century from traditional sources. In both sources, Dellingr is described as the father of Dagr, the personified day, the Prose Edda adds that, depending on manuscript variation, he is either the third husband of Nótt, the personified night, or the husband of Jörð, the personified earth. Dellingr is also attested in the legendary saga Hervarar saga ok Heiðreks, scholars have proposed that Dellingr is the personified dawn, and his name may appear both in an English surname and place name as well as German surnames. Dellingr is referenced in the Poetic Edda poems Vafþrúðnismál and Hávamál, in stanza 24 of Vafþrúðnismá, the god Odin asks the jötunn Vafþrúðnir from where the day comes, and the night and its tides. In stanza 25, Vafþrúðnir responds, Delling hight he who the father is, but night was of Nörvi born. In Hávamál, the dwarf Þjóðrœrir is stated as having recited a spell before Dellings doors. Strength he sang to the Æsir, and to the Alfar prosperity, in the poem Fjölsvinnsmál, Svipdagr asks What one of the gods has made so great the hall I behold within. Fjölsviðr responds with a list of names, including Dellingr, in a stanza of the poem Hrafnagaldr Óðins, the appearance of Dagr, horse, and chariot are described, and Dagr himself is referred to as the son of Delling. In chapter 10 of the Prose Edda book Gylfaginning, the figure of High states that Dellingr is a god. The couple have Dagr, who carries the features of his fathers people, Odin placed both Dellingrs son, Dagr, and Dellingrs wife, Nótt, in the sky, so that they may ride across it with their horses and chariots every 24 hours. However, scholar Haukur Thorgeirsson points out that the four manuscripts of Gylfaginning vary in their descriptions of the relations between Nótt, Jörð, Dagr, and Dellingr. In other words, depending on the manuscript, either Jörð or Nótt is the mother of Dagr, the results of this accident made their way into the Icelandic poetic tradition. Five riddles found in the poem Heiðreks gátur contained in the legendary saga Hervarar saga ok Heiðreks employ the phrase Dellings doors once each and this riddle ponder, O prince Heidrek. Your riddle is good, Gestumblindi, said the king, I have guessed it and it is the leek, its head is fast in the ground, but it forks as it grows up. Jacob Grimm states that Dellingr is the form of Deglingr. Benjamin Thorpe says that Dellingr may be dawn personified, similarly to his son Dagr, regarding the references to Dellings door as used in Hervarar saga ok Heiðreks, Christopher Tolkien says that, What this phrase meant to the maker of these riddles is impossible to say. As regarding dǫglings for Dellings in H, and Dǫglingar were the descendants of Dagr, john Lindow says that some confusion exists about the reference to Dellingr in Hávamál
25.
Forseti
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Forseti is an Æsir god of justice and reconciliation in Norse mythology. He is generally identified with Fosite, a god of the Frisians, grimm took Forseti, praeses, to be the older form of the name, first postulating an unattested Old High German equivalent *forasizo. But later preferring a derivation from fors, a stream or cataract, connected to the spring. It is plausible that Fosite is the name and Forseti a folk etymology. The Greek traveller Pytheas of Massalia, who describes the amber trade, is known to have visited the region around 325 BC, according to Snorri Sturluson in the Prose Edda, Forseti is the son of Baldr and Nanna. His home is Glitnir, its name, meaning shining, refers to its ceiling and golden pillars. His is the best of courts, all those who come before him leave reconciled and this suggests skill in mediation and is in contrast to his fellow god Týr, who is not called a reconciler of men. However, as de Vries points out, the basis for associating Forseti with justice seems to have been his name. Puts to sleep all suits or stills all strifes may have been an addition to the strophe Snorri cites. The first element in the name Forsetlund, a farm in the parish of Onsøy, in eastern Norway, seems to be the case of Forseti. According to Alcuins Life of St. Willebrord, the saint visited an island between Frisia and Denmark that was sacred to Fosite and was called Fositesland after the god worshipped there. There was a spring from which water had to be drawn in silence. Willebrord defiled the spring by baptizing people in it and killing a cow there, altfrid tells the same story of St. Liudger. Adam of Bremen retells the story and adds that the island was Heiligland, there is also a late-medieval legend of the origins of written Frisian laws. Wishing to assemble written lawcodes for all his subject peoples, Charlemagne summoned twelve representatives of the Frisian people, the Āsegas, when they could not do so after several days, he let them choose between death, slavery, or being set adrift in a rudderless boat. They chose the last and prayed for help, whereupon a thirteenth man appeared and he steered the boat to land with the axe, then threw it ashore, a spring appeared where it landed. He taught them laws and then disappeared, the stranger and the spring have traditionally been identified with Fosite and the sacred spring of Fositesland. Modern scholarship, however, is critical about this hypotheses, as the attribute of the axe is normally associated with Thor
26.
Heimdallr
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In Norse mythology, Heimdallr is a god who possesses the resounding horn Gjallarhorn, owns the golden-maned horse Gulltoppr, has gold teeth, and is the son of Nine Mothers. Heimdallr is said to be the originator of social classes among humanity, Heimdallr and Loki are foretold to kill one another during the events of Ragnarök. Heimdallr is additionally referred to as Rig, Hallinskiði, Gullintanni, two lines of an otherwise lost poem about the god, Heimdalargaldr, survive. Heimdallr also appears as Heimdalr and Heimdali, the etymology of the name is obscure, but the one who illuminates the world has been proposed. Heimdallr may be connected to Mardöll, one of Freyjas names, Heimdallr and its variants are sometimes modernly anglicized as Heimdall or Heimdal. Heimdallr is attested as having three other names, Hallinskiði, Gullintanni, and Vindlér or Vindhlér, the name Hallinskiði is obscure, but has resulted in a series of attempts at deciphering it. Gullintanni literally means the one with the golden teeth, Vindlér translates as either the one protecting against the wind or wind-sea. All three have resulted in theories about the god. A lead spindle whorl bearing an Old Norse Younger Futhark inscription that mentions Heimdallr was discovered in Saltfleetby, the spindle whorl itself is dated from the year 1000 to 1100 AD. On the inscription, the god Heimdallr is mentioned alongside the god Odin and Þjálfi, in the Poetic Edda, Heimdallr is attested in six poems, Völuspá, Grímnismál, Lokasenna, Þrymskviða, Rígsþula, and Hrafnagaldr Óðins. Heimdallr is mentioned thrice in Völuspá, in the first stanza of the poem, the undead völva reciting the poem calls out for listeners to be silent and refers to Heimdallr, This stanza has led to various scholarly interpretations. The holy races have been considered variously as either humanity or the gods, the notion of humanity as Heimdallrs sons is otherwise unattested and has also resulted in various interpretations. Some scholars have pointed to the introduction to the poem Rígsþula. Later in Völuspá, the völva foresees the events of Ragnarök, schach details that Heimdallar hljóð has aroused much speculation. Snorri seems to have confused this word with gjallarhorn, but there is no attestation of the use of hljóð in the sense of horn in Icelandic. Various scholars have read this as hearing rather than horn, larrington says that Odin exchanged one of his eyes for wisdom from Mimir, guardian of the well, while Heimdall seems to have forfeited his ear. In the poem Grímnismál, Odin, tortured, starved and thirsty, in the poem Lokasenna, Loki flyts with various gods who have met together to feast. At one point during the exchanges, the god Heimdallr says that Loki is drunk and witless, and asks Loki why he wont stop speaking
27.
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
28.
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
