1.
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
2.
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
3.
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
4.
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
5.
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
6.
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
7.
Mistletoe
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Mistletoe is the common name for most obligate hemiparasitic plants in the order Santalales. Mistletoes attach to and penetrate the branches of a tree or shrub by a called the haustorium, through which they absorb water. The name mistletoe originally referred to the species Viscum album, it was the species native to Great Britain. A separate species, Viscum cruciatum, occurs in Southwest Spain and Southern Portugal, as well as North Africa, in particular, the Eastern mistletoe native to North America, Phoradendron leucarpum, belongs to a distinct genus of the Santalaceae family. The genus Viscum is not native to North America, but Viscum album has been introduced to California, european mistletoe has smooth-edged, oval, evergreen leaves borne in pairs along the woody stem, and waxy, white berries that it bears in clusters of two to six. The Eastern mistletoe of North America is similar, but has shorter, broader leaves, the word mistletoe derives from the older form mistle, adding the Old English word tān. Further etymology is uncertain, but may be related to the Germanic base for mash, although Viscaceae and Eremolepidaceae were placed in a broadly defined Santalaceae by Angiosperm Phylogeny Group II, DNA data indicate they evolved independently. The largest family of mistletoes, the Loranthaceae, has 73 genera, subtropical and tropical climates have markedly more mistletoe species, Australia has 85, of which 71 are in Loranthaceae, and 14 in Santalaceae. Mistletoe plants grow on a range of host trees, they commonly reduce their growth. A heavy infestation may kill the entire host plant, Viscum album successfully parasitizes more than 200 tree and shrub species. Technically, all species are hemiparasites, because they do perform at least a little photosynthesis for at least a short period of their life cycle. However, this is academic in some species whose contribution is nearly zero. Once they have germinated and attached to the system of the host. Most of the Viscaceae bear evergreen leaves that photosynthesise effectively, and photosynthesis proceeds within their green, some species, such as Viscum capense, are adapted to semi-arid conditions and their leaves are vestigial scales, hardly visible without detailed morphological investigation. Accordingly their contribution to the hosts metabolic balance becomes trivial and the parasite may become quite yellow as it grows. At another extreme other species have green leaves. In such a tree the host is relegated purely to the supply of water and mineral nutrients and the physical support of the trunk. Such a tree may survive as a Viscum community for years, it resembles a totally unknown species unless one examines it closely, an example of a species that behaves like that is Viscum continuum
8.
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
9.
Poetic Edda
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Poetic Edda is the modern attribution for an unnamed collection of Old Norse anonymous poems, which is different from the Edda, written by Snorri Sturluson. Several versions exist, all consisting primarily of text from the Icelandic mediaeval manuscript known as the Codex Regius, poets who have acknowledged their debt to the Codex Regius include Vilhelm Ekelund, August Strindberg, J. R. R. Tolkien, Ezra Pound, Jorge Luis Borges, and Karin Boye, Codex Regius was written in the 13th century, but nothing is known of its whereabouts until 1643, when it came into the possession of Brynjólfur Sveinsson, then Bishop of Skálholt. At the time, versions of the Edda were known in Iceland, but scholars speculated that once was another Edda, an Elder Edda. Brynjólfur attributed the manuscript to Sæmundr the Learned, a larger-than-life 12th century Icelandic priest and that attribution is rejected by modern scholars, but the name Sæmundar Edda is still sometimes associated with both the Codex Regius and versions of Poetic Edda using it as a source. Bishop Brynjólfur sent Codex Regius as a present to the Danish king, for centuries, it was stored in the Royal Library in Copenhagen but in 1971, it was returned to Iceland. The Eddic poems are composed in alliterative verse, most are in fornyrðislag, while málaháttr is a common variation. The rest, about a quarter, are composed in ljóðaháttr, the language of the poems is usually clear and relatively unadorned. Kennings are often employed, though they do not arise as frequently, nor are they as complex, like most early poetry, the Eddic poems were minstrel poems, passing orally from singer to singer and from poet to poet for centuries. None of the poems are attributed to an author, though many of them show strong individual characteristics and are likely to have been the work of individual poets. Scholars sometimes speculate on hypothetical authors, but firm and accepted conclusions have never been reached, the dating of the poems has been a source of lively scholarly argument for a long time, and firm conclusions are hard to reach. Lines from the Eddic poems sometimes appear in poems by known poets, for example, Eyvindr skáldaspillir composed in the latter half of the 10th century, and he uses a couple of lines in his Hákonarmál which are also found in Hávamál. It is possible that he was quoting a poem, but it is also possible that Hávamál. The few demonstrably historical characters mentioned in the poems, such as Attila, the dating of the manuscripts themselves provides a more useful terminus ante quem. Individual poems have individual clues to their age, for example, Atlamál hin groenlenzku is claimed by its title to have been composed in Greenland, and seems so by some internal evidence. If so, it can be no earlier than about 985, in some cases, old poems may have been interpolated with younger verses or merged with other poems. For example, stanzas 9-16 of Völuspá, the Dvergatal or Roster of Dwarfs, is considered by scholars to be an interpolation. The problem of dating the poems is linked with the problem of finding out where they were composed, Iceland was not settled until about 870, so anything composed before that time would necessarily have been elsewhere, most likely in Scandinavia
10.
Giantess
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The Titanides, sisters and children of Titans, may not have originally been seen as giants, but later Hellenistic poets and Latin ones tended to blur Titans and Giants. Grid was a giantess who saved Thors life and she was aware of Lokis plans to get Thor killed at the hands of the giant Geirrod and sets out to help him by supplying him with a number of magical gifts. These gifts were, a girdle of might, a pair of magical iron gloves, the giantess Gerd was very beautiful and her brilliant, naked arms illuminated air and sea. Freyr fell in love at first sight and the account of her wooing is given in the poem Skirnismál and she never wanted to marry Freyr, and refused his proposals even after he brought her eleven golden apples and Draupnir. Skirnir finally threatened to use Freyrs sword to cover the earth in ice and she became the mother of the mythic Swedish king Fjölnir. Skaði journeyed to Ásgard to avenge her father Þjazi, whom the gods had killed and she agreed that she would have that renounced if they allowed her to choose a husband among them and if they succeeded in making her laugh. The gods allowed her to choose a husband, but she had to him only from his feet. Then Loki succeeded in making her laugh, so peace was made, after a while, she and her husband separated, because she loved the mountains, while he wanted to live near the sea. The Ynglinga saga says that later she became wife of Odin, and had many sons by him. At Baldrs funeral, his ship was set to sea by Hyrrokin, a giantess. Upon Friggs entreaties, delivered through the messenger Hermod, Hel promised to release Baldr from the underworld if all objects alive, and all did, except a giantess, Thokk, who refused to mourn the slain god. And thus Baldr had to remain in the underworld, not to emerge until after Ragnarok, giantesses are fairly common in Indian mythology. The demoness Putana is usually drawn as a giantess, giantesses are common in the folklore of Ireland and the British Isles, particularly Scotland and Wales. They were often depicted as loving and beautiful people and, in versions of myths, seemed to resemble Vikings. A notable giantess in Irish mythology is Bébinn, in Lewis Carrolls story Alices Adventures in Wonderland, there are several scenes where the heroine Alice grows to giant size by means of eating something. Clarkes story Cosmic Casanova describes an astronauts revulsion at discovering that a female he adored on a video screen is in fact thirty feet tall. Size-changing heroines have appeared in comics as Doom Patrol, Mighty Avengers, Marvel Adventures Avengers, Team Youngblood. In the latter series, the giantess-superheroines Tara and Garganta combine immense size and strength with beauty and femininity, conversely, size-changing villainesses, such as Wonder Woman foe Giganta, use their strength and beauty for less altruistic purposes as a weapon to crush their foes
11.
Denmark
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The term Danish Realm refers to the relationship between Denmark proper, the Faroe Islands and Greenland—three countries constituting the Kingdom of Denmark. The legal nature of the Kingdom of Denmark is fundamentally one of a sovereign state. The Faroe Islands and Greenland have been part of the Crown of Denmark since 1397 when the Kalmar Union was ratified, legal matters in The Danish Realm are subject to the Danish Constitution. Beginning in 1953, state law issues within The Danish Realm has been governed by The Unity of the Realm, a less formal name for The Unity of the Realm is the Commonwealth of the Realm. In 1978, The Unity of The Realm was for the first time referred to as rigsfællesskabet. The name caught on and since the 1990s, both The Unity of The Realm and The Danish Realm itself has increasingly been referred to as simply rigsfællesskabet in daily parlance. The Danish Constitution stipulates that the foreign and security interests for all parts of the Danish Realm are the responsibility of the Danish government, the Faroes received home rule in 1948 and Greenland did so in 1979. In 2005, the Faroes received a self-government arrangement, and in 2009 Greenland received self rule, the Danish Realms unique state of internal affairs is acted out in the principle of The Unity of the Realm. This principle is derived from Article 1 of the Danish Constitution which specifies that constitutional law applies equally to all areas of the Danish Realm, the Constitutional Act specifies that sovereignty is to continue to be exclusively with the authorities of the Realm. The language of Denmark is Danish, and the Danish state authorities are based in Denmark, the Kingdom of Denmarks parliament, with its 179 members, is located in the capital, Copenhagen. Two of the members are elected in each of Greenland and the Faroe Islands. The Government ministries are located in Copenhagen, as is the highest court, in principle, the Danish Realm constitutes a unified sovereign state, with equal status between its constituent parts. Devolution differs from federalism in that the powers of the subnational authority ultimately reside in central government. The Self-Government Arrangements devolves political competence and responsibility from the Danish political authorities to the Faroese, the Faroese and Greenlandic authorities administer the tasks taken over from the state, enact legislation in these specific fields and have the economic responsibility for solving these tasks. The Danish government provides a grant to the Faroese and the Greenlandic authorities to cover the costs of these devolved areas. The 1948 Home Rule Act of the Faroe Islands sets out the terms of Faroese home rule, the Act states. the Faroe Islands shall constitute a self-governing community within the State of Denmark. It establishes the government of the Faroe Islands and the Faroese parliament. The Faroe Islands were previously administered as a Danish county, the Home Rule Act abolished the post of Amtmand and these powers were expanded in a 2005 Act, which named the Faroese home government as an equal partner with the Danish government
12.
History
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History is the study of the past as it is described in written documents. Events occurring before written record are considered prehistory and it is an umbrella term that relates to past events as well as the memory, discovery, collection, organization, presentation, and interpretation of information about these events. Scholars who write about history are called historians and their works continue to be read today, and the gap between the culture-focused Herodotus and the military-focused Thucydides remains a point of contention or approach in modern historical writing. In Asia, a chronicle, the Spring and Autumn Annals was known to be compiled from as early as 722 BC although only 2nd-century BC texts survived. Ancient influences have helped spawn variant interpretations of the nature of history which have evolved over the centuries, the modern study of history is wide-ranging, and includes the study of specific regions and the study of certain topical or thematical elements of historical investigation. Often history is taught as part of primary and secondary education, the word history comes ultimately from Ancient Greek ἱστορία, meaning inquiry, knowledge from inquiry, or judge. It was in that sense that Aristotle used the word in his Περὶ Τὰ Ζῷα Ἱστορίαι, the ancestor word ἵστωρ is attested early on in Homeric Hymns, Heraclitus, the Athenian ephebes oath, and in Boiotic inscriptions. History was borrowed from Latin into Old English as stær, and it was from Anglo-Norman that history was borrowed into Middle English, and this time the loan stuck. In Middle English, the meaning of history was story in general, the restriction to the meaning the branch of knowledge that deals with past events, the formal record or study of past events, esp. human affairs arose in the mid-fifteenth century. With the Renaissance, older senses of the word were revived, and it was in the Greek sense that Francis Bacon used the term in the sixteenth century. For him, historia was the knowledge of objects determined by space and time, in an expression of the linguistic synthetic vs. analytic/isolating dichotomy, English like Chinese now designates separate words for human history and storytelling in general. In modern German, French, and most Germanic and Romance languages, which are synthetic and highly inflected. The adjective historical is attested from 1661, and historic from 1669, Historian in the sense of a researcher of history is attested from 1531. Historians write in the context of their own time, and with due regard to the current dominant ideas of how to interpret the past, in the words of Benedetto Croce, All history is contemporary history. History is facilitated by the formation of a discourse of past through the production of narrative. The modern discipline of history is dedicated to the production of this discourse. All events that are remembered and preserved in some authentic form constitute the historical record, the task of historical discourse is to identify the sources which can most usefully contribute to the production of accurate accounts of past. Therefore, the constitution of the archive is a result of circumscribing a more general archive by invalidating the usage of certain texts and documents
13.
Saxo Grammaticus
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Saxo Grammaticus, also known as Saxo cognomine Longus, was a Danish historian, theologian and author. He is thought to have been a clerk or secretary to Absalon, Archbishop of Lund and he is the author of the first full history of Denmark. The Jutland Chronicle gives evidence that Saxo was born in Zealand and it is unlikely he was born before 1150 and it is supposed that his death could have occurred around 1220. His name Saxo was a name in medieval Denmark. The name Grammaticus was first given to him in the Jutland Chronicle and he lived in a period of warfare and Danish expansion, led by Archbishop Absalon and the Valdemars. The Danes were also being threatened by the Wends who were making raids across the border, Valdemar I had also just won a civil war and later Valdemar II led an expedition across the Elbe to invade Holstein. Sven Aggesen, a Danish nobleman and author of an earlier history of Denmark than Saxos, describes his contemporary, Saxo. This gives evidence that Saxo and Sven might have soldiered in the Hird or royal guard since Sven used the word contubernium in reference to them, there is also a Saxo to be found on a list of clergy at Lund, where there was a Sven recorded as Archdeacon. Likewise there is Dean Saxo who died in 1190, however the date does not match what is known about Saxo. Both arguments, for a secular or religious Saxo, would confirm that he was educated, as clergy he would have received training in Latin. Saxo comes from a family and writes that he is himself committed to being a soldier. He tells us that he follows the ancient right of hereditary service, Saxos education and ability supports the idea that he was educated outside Denmark. Some suggest the title Grammaticus refers not to his education but rather his elaborate Latin style and we know from his writing that he was in the retinue and received the patronage of Absalon, Archbishop of Lund, who was the foremost advisor to King Valdemar I. In his will Absalon forgives his clerk Saxo a small debt of two and a half marks of silver and tells him to return two borrowed books to the monastery of Sorø, the legacy of Saxo Grammaticus is the sixteen book heroic history of the Danes called Gesta Danorum. In the preface to the work, Saxo writes that his patron Absalon, the history is thought to have been started about 1185, after Sven Aggesen wrote his history. The goal of Gesta Danorum was as Saxo writes to glorify our fatherland, Saxo also may have owed much to Plato, Cicero and also to more contemporary writers like Geoffrey of Monmouth. Saxos history of the Danes was compiled from sources that are of historical value. He drew on oral tales of the Icelanders, ancient volumes, letters carved on rocks and stone, the history is composed of sixteen books and extends from the time of the founders of the Danish people, Dan I of Denmark and Angul into about the year 1187
14.
Gesta Danorum
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Gesta Danorum is a patriotic work of Danish history, by the 12th century author Saxo Grammaticus. It is the most ambitious undertaking of medieval Denmark and is an essential source for the nations early history. It is also one of the oldest known documents about the history of Estonia and Latvia. The sixteen books, in prose with an excursion into poetry. Book 9 ends with Gorm the Old, the first factual documented King of Denmark, book 14 contains a unique description of the temple at Rügen Island. When exactly Gesta Danorum was written is the subject of works, however. The last event described in the last book is King Canute VI of Denmark subduing Pomerania under Duke Bogislaw I, however the preface of the work, dictated to Archbishop Anders Sunesen, mentions the Danish conquest of the areas north of the Elbe river in 1208. Book 14, comprising nearly one-quarter of the text of the entire work, since this book is so large and Absalon has greater importance than King Valdemar I, this book may have been written first and comprised a work on its own. It is possible that Saxo then enlarged it with Books 15 and 16, telling the story of King Valdemar Is last years and it is believed that Saxo then wrote Books 11,12, and 13. Svend Aagesens history of Denmark, Brevis Historia Regum Dacie, states that Saxo had decided to write about The king-father and his sons, which would be King Sweyn Estridson, in Books 11,12 and he would later add the first ten books. This would also explain the 22 years between the last event described in the last book and the 1208 event described in the preface, the original manuscripts of the work are lost, except for four fragments, the Angers Fragment, Lassen Fragment, Kall-Rasmussen Fragment and Plesner Fragment. The Angers Fragment is the biggest fragment, and the only one attested to be in Saxo’s own handwriting, the other ones are copies from ca. All four fragments are in the collection of the Danish Royal Library in Copenhagen, in 1510-1512, Christiern Pedersen, a Danish translator working in Paris, searched Denmark high and low for an existing copy of Saxo’s works, which by that time was nearly all but lost. By that time most knowledge of Saxo’s work came from a summary located in Chronica Jutensis, from around 1342 and it is also in this summary that the name Gesta Danorum is found. The title Saxo himself used for his work is unknown, Christiern Pedersen finally found a copy in the collection of Archbishop Birger Gunnersen of Lund, modern Sweden, which he gladly lent him. With the help of printer Jodocus Badius, Gesta Danorum was refined and printed, the edition features the following colophon. impressit in inclyta Parrhisorum academia Iodocus Badius Ascensius Idibus Martiis. The source of all existing translations and new editions is Christiern Pedersens Latin Danorum Regum heroumque Historiae,1540, Lost Jon Tursons, never published ca. Volume 1 includes books I-X and Volume 2 includes books XI-XVI, hermann Jantzen, published 1900, title, Saxo Grammaticus
15.
Nanna (Norse deity)
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In Norse mythology, Nanna Nepsdóttir or simply Nanna is a goddess associated with the god Baldr. Accounts of Nanna vary greatly by source, in the Prose Edda, written in the 13th century by Snorri Sturluson, Nanna is the wife of Baldr and the couple produced a son, the god Forseti. After Baldrs death, Nanna dies of grief, Nanna is placed on Baldrs ship with his corpse and the two are set aflame and pushed out to sea. In Hel, Baldr and Nanna are united again, spurred by their mutual attraction to Nanna, Baldr and Höðr repeatedly do battle. Nanna is only interested in Höðr and weds him, while Baldr wastes away from nightmares about Nanna, the Setre Comb, a comb from the 6th or early 7th century featuring runic inscriptions, may reference the goddess. The etymology of the name Nanna is a subject of scholarly debate, scholars have debated connections between Nanna and other similarly named deities from other cultures and the implications of the goddesss attestations. The etymology of the name of the goddess Nanna is debated, some scholars have proposed that the name may derive from a babble word, nanna, meaning mother. Scholar Jan de Vries connects the name Nanna to the root *nanþ-, scholar John Lindow theorizes that a common noun may have existed in Old Norse, nanna, that roughly meant woman. Scholar John McKinnell notes that the mother and *nanþ- derivations may not be distinct, in the Poetic Edda poem Hyndluljóð, a figure by the name of Nanna is listed as the daughter of Nökkvi and as a relative of Óttar. This figure may or may not be the same Nanna as Baldrs wife, in chapter 38 of the Prose Edda book Gylfaginning, the enthroned figure of High explains that Nanna Nepsdóttir and her husband Baldr produced a son, the god Forseti. Later in Gylfaginning, High recounts Baldrs death in Asgard at the hands of his blind brother. Baldrs body is taken to the seaside and, when his body is placed unto his ship Hringhorni and her body is placed upon Hringhorni with Baldr, the ship is set aflame, and the god Thor hallows the pyre with his hammer Mjölnir. Sent by Baldrs mother, the goddess Frigg, the god Hermóðr rides to the location of Hel to resurrect Baldr, Hermóðr finally arrives in Hel to find Baldr in a hall, seated in the seat of honor and with his wife Nanna. Hermóðr bargains with Hel, the being, for Baldrs resurrection, Hel and Hermóðr come to an agreement and then Baldr and Nanna accompany Hermóðr out of the hall. Baldr gives Hermóðr the ring Draupnir, which the god Odin had placed on Baldrs pyre, Nanna presents to Hermóðr a series of gifts, a linen robe for Frigg, a golden ring for the goddess Fulla, and other unspecified items. In the first chapter of the Prose Edda book Skáldskaparmál, Nanna is listed among 8 goddesses attending a feast held in honor of Ægir, in chapter 5 of Skáldskaparmál, means of referring to Baldr are provided, including husband of Nanna. In chapter 19, means of referring to Frigg are provided, in chapter 75, Nanna is included among a list of goddesses. In chapter 18, the skald Eilífr Goðrúnarsons work Þórsdrápa is quoted, in book III of Gesta Danorum, Nanna is not a goddess but rather a daughter of the mortal King Gevar
16.
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
17.
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
18.
Thing (assembly)
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A thing was the governing assembly of a Northern Germanic society, made up of the free people of the community presided over by lawspeakers. Its meeting-place was called a thingstead, the Anglo-Saxon folkmoot or folkmote was analogous, the forerunner to the witenagemot and a precursor of the modern Parliament of the United Kingdom. The Old Norse, Old Frisian, and Old English þing with the assembly is identical in origin to the English word thing, German Ding, Dutch ding. All of these derive from Proto-Germanic *þingą meaning appointed time. The word shift in the meaning of the thing from assembly to object is mirrored in the evolution of the Latin causa to modern French chose, Spanish/Italian/Catalan cosa. In English the term is attested from 685 to 686 CE in the meaning assembly, later it referred to a being, entity or matter. The early sense of meeting, assembly did not survive the shift to Middle English, the meaning of personal possessions, commonly in the plural, first appears in Middle English around 1300. In the pre-Christian clan-culture of Scandinavia the members of a clan were obliged to avenge injuries against their dead, a balancing structure was necessary to reduce tribal feuds and avoid social disorder. It is known from North-Germanic cultures that the institution was the thing, although similar assemblies are reported also from other Germanic peoples. The thing was the assembly of the men and women of a country. There were consequently hierarchies of things, so that the things were represented at the higher-level thing. At the thing, disputes were solved and political decisions were made, the place for the thing was often also the place for public religious rites and for commerce. The thing met at regular intervals, legislated, elected chieftains and kings, and judged according to the law, the things negotiations were presided over by the lawspeaker and the chieftain or the king. In reality the thing was dominated by the most influential members of the community, the heads of clans and wealthy families, Haugating, the Thing for Vestfold in Norway, was located in Tønsberg at Haugar. This site was one of Norways most important places for the proclamation of kings, in 1130, Harald Gille called together a meeting at the Haugating at which he was declared to be King of Norway. Sigurd Magnusson was proclaimed king in 1193 at Haugating, magnus VII was acclaimed hereditary King of Norway and Sweden at the Haugating in August 1319. Main things in Sweden were the Thing of all Swedes, the Thing of all Geats, the island of Gotland had twenty things in late medieval times, each represented at the island-thing called landsting by its elected judge. New laws were decided at the landsting, which also took other decisions regarding the island as a whole, the landstings authority was successively eroded after the island was occupied by the Teutonic Order in 1398
19.
Hel (location)
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In Norse mythology, Hel, the location, shares a name with Hel, a female figure associated with the location. In late Icelandic sources, varying descriptions of Hel are given, in the Poetic Edda, Brynhildrs trip to Hel after her death is described and Odin, while alive, also visits Hel upon his horse Sleipnir. In Snorri Sturlusons Prose Edda, Baldr goes to Hel on his death, the Old Norse feminine proper noun Hel is identical to the name of the entity that presides over the realm, Old Norse Hel. The word has cognates in all branches of the Germanic languages, including Old English hell, Old Frisian helle, Old Saxon hellia, Old High German hella, all forms ultimately derive from the reconstructed Proto-Germanic feminine noun *xaljō or *haljō. In turn, the Proto-Germanic form derives from the form of the Proto-Indo-European root *kel-, *kol-, to cover, conceal. The term is related to Modern English hall and therefore also Valhalla. Hall and its numerous Germanic cognates derive from Proto-Germanic *hallō covered place, hall, related early Germanic terms and concepts include Proto-Germanic *xalja-rūnō, a feminine compound noun, and *xalja-wītjan, a neutral compound noun. This form is reconstructed from the Latinized Gothic plural noun *haliurunnae, Old English helle-rúne, the compound is composed of two elements, *xaljō and *rūnō, the Proto-Germanic precursor to Modern English rune. The second element in the Gothic haliurunnae may however instead be an agent noun from the verb rinnan, which would make its literal meaning one who travels to the netherworld. )Proto-Germanic *xalja-wītjan is reconstructed from Old Norse hel-víti hell, Old English helle-wíte hell-torment, hell, Old Saxon helli-wīti hell, and the Middle High German feminine noun helle-wīze. The compound is a compound of *xaljō and *wītjan, in reference to Hel, in the poem Völuspá, a völva states that Hel will play an important role in Ragnarök. The Völva states that a crowing sooty-red cock from the halls of Hel is one of three cocks that will signal one of the events of Ragnarök. The other two are Fjalar in Jotunheim and Gullunkambi in Valhalla, in Grímnismál stanza 31, Hel is listed as existing beneath one of the three roots of the world tree Yggdrasil. One of the two leads to the frost jötnar and the third to Mankind. In the short poem Helreið Brynhildar, Hel is directly referenced as a location in the title, while riding along a road on the border of Hel in a lavish cart, Brynhildr encounters a dead giantess at a burial mound belonging to her. This results in an exchange, during which Brynhildr tells of her life. In Baldrs draumar, Odin rides to the edge of Hel to investigate nightmares that Baldr has had and he uses a spell to bring to life the corpse of a Völva. Odin introduces himself under a name and pretense and asks for information from the völva relating to Baldrs dreams. The völva reluctantly proceeds to produce prophecies regarding the events of Ragnarök, Niflhel is mentioned as being just outside Hel
20.
Fenrir
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In Norse mythology, Fenrir, Fenrisúlfr, Hróðvitnir, or Vánagandr is a monstrous wolf. Fenrir is attested in the Poetic Edda, compiled in the 13th century from traditional sources. Depictions of Fenrir have been identified on various objects, and scholarly theories have been proposed regarding Fenrirs relation to other beings in Norse mythology. Fenrir has been the subject of artistic depictions, and he appears in literature, Fenrir is mentioned in three stanzas of the poem Völuspá and in two stanzas of the poem Vafþrúðnismál. In stanza 40 of the poem Völuspá, a völva divulges to Odin that, in the east, there will come from them all one of that number to be a moon-snatcher in trolls skin. Then shall Friggs sweet friend fall, in the stanza that follows Vafþrúðnir responds that Sól will bear a daughter before Fenrir attacks her, and that this daughter shall continue the paths of her deceased mother through the heavens. In the Prose Edda, Fenrir is mentioned in three books, Gylfaginning, Skáldskaparmál and Háttatal, in chapter 13 of the Prose Edda book Gylfaginning, Fenrir is first mentioned in a stanza quoted from Völuspá. Fenrir is first mentioned in prose in chapter 25, where the figure of High tells Gangleri about the god Týr. High says that one example of Týrs bravery is that when the Æsir were luring Fenrir to place the fetter Gleipnir on the wolf and this was done at Fenrirs own request because he did not trust that the Æsir would let him go. High says that Odin sent the gods to gather the children, upon their arrival, Odin threw Jörmungandr into that deep sea that lies round all lands, and then threw Hel into Niflheim, and bestowed upon her authority over nine worlds. However, the Æsir brought up the wolf at home, and only Týr had the courage to approach Fenrir, the gods noticed that Fenrir was growing rapidly every day, and since all prophecies foretold that Fenrir was destined to cause them harm, the gods formed a plan. The gods prepared three fetters, The first, greatly strong, was called Leyding and they brought Leyding to Fenrir and suggested that the wolf try his strength with it. Fenrir judged that it was not beyond his strength, and so let the gods do what they wanted with it, at Fenrirs first kick the bind snapped, and Fenrir loosened himself from Leyding. The gods made a second fetter, twice as strong, the gods asked Fenrir to try the new fetter, and that should he break this feat of engineering, Fenrir would achieve great fame for his strength. Fenrir considered that the fetter was very strong, yet also that his strength had grown since he broke Leyding, Fenrir allowed them to place the fetter. High says that, as a result, to loose from Leyding or to strike out of Dromi have become sayings for when something is achieved with great effort, the dwarves constructed Gleipnir from six mythical ingredients. After an exchange between Gangleri and High, High continues that the fetter was smooth and soft as a ribbon, yet strong. The messenger brought the ribbon to the Æsir, and they thanked him heartily for completing the task, the Æsir went out on to the lake Amsvartnir sent for Fenrir to accompany them, and continued to the island Lyngvi
21.
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
22.
Fensalir
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In Norse mythology, Fensalir is a location where the goddess Frigg dwells. Fensalir is attested in the Poetic Edda, compiled in the 13th century from traditional sources. In the Poetic Edda poem Völuspá, Frigg is described as weeping over her son Baldrs death in Fensalir and this stanza is absent in the Hauksbók manuscript of the poem. The portion of the stanza mentioning Fensalir foretells that vengeance will come for the death of Baldr and that, while Frigg wept in Fen Halls for Valhǫlls woe. In chapter 35 of the Prose Edda book Gylfaginning, High tells Gangleri that Frigg is the highest among the ásynjur, and that she has a dwelling called Fensalir and it is very splendid. In chapter 49, High says that when Loki witnessed that Baldr had gained invincibility due to the oath all things not to harm him. In his disguise, Loki there asked Frigg why Baldr was not harmed by the objects, Frigg revealed that it is due to the oath they have taken. The disguised Loki asks if nothing can hurt Baldr, and Frigg reveals that only mistletoe can, after this, Loki immediately disappears, and subsequently engineers the death of Baldr with a mistletoe projectile. In the Prose Edda book Skáldskaparmál, Fensalir receives a third, in chapter 19, ways to refer to Frigg are provided, including that Frigg may be referred to as queen of Æsir and Asyniur, of Fulla and falcon form and Fensalir. In 1882, the German scholar Anton Edzardi proposed that Fensalir may point to religious practices involving springs. John Lindow comments that I have no idea why Frigg should live in a boggy place, rudolf Simek comments that Edzardis theory must remain unanswered. In addition, Edzardi theorized a connection between Fensalir and a belief in folklore that particular swamps act as an entrance to the realm of Holda, whom he connects with Frigg. In a 19th-century work, Paul Henri Mallet and Walter Scott write that the fen element of Fensalir may also be made to sig the watery deep and this etymology has resulted in theories that the name Fensalir may mean Sea Halls rather than Fen Halls. Stephan Grundy states that Sága and Sökkvabekkr may be by-forms of Frigg and Fensalir used for the purpose of composing alliterative verse
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
24.
Baldrs draumar
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Baldrs draumar or Vegtamskviða is an Eddic poem, contained in the manuscript AM748 I 4to. It relates information on the myth of Baldrs death in a way consistent with Gylfaginning, Odin rides to Hel to investigate. He finds the grave of a völva and resurrects her and their conversation follows, where the völva tells Odin about Baldrs fate. In the end Odin asks her a question which reveals his identity, the poem is one of the shortest Eddic poems, consisting of 14 fornyrðislag stanzas. Some late paper manuscripts contain about five more stanzas, those are thought to be of young origin, sophus Bugge believed them to have been composed by the author of Forspjallsljóð. Bellows on the other hand suggest the poem is older but could not date earlier than the tenth century, the confrontation between The Wanderer and Erda in Act 3, Scene 1 of Richard Wagners opera Siegfried is based upon Baldrs draumar. Baldrs Draumar Translation and commentary by H. A
25.
Testudo formation
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In Ancient Roman warfare, the testudo or tortoise formation was a formation used commonly by the Roman Legions during battles, particularly sieges. Testudo is the Latin word for tortoise, the Greek term for this formation is chelone and during the Byzantine era, it seems to have evolved to what military manuals of the era call the foulkon. In the testudo formation, the men would align their shields to form a packed formation covered with shields on the front and top. The first row of men, possibly excluding the men on the flanks, would hold their shields from about the height of their shins to their eyes, the shields would be held in such a way that they presented a shield wall to all sides. The men in the ranks would place their shields over their heads to protect the formation from above, balancing the shields on their helmets. The men behind them held their shields over the heads of the first rank, the resulting shape, which is a remarkable sight, looks very like a roof, and is the surest protection against arrows, which just glance off it. Cassius Dio writes about the testudo when describing the campaign of Mark Antony in 36 BC, This testudo, the Baggage animals, the light-armed troops, and the cavalry are placed in the center of the army. Indeed, it is so strong that men can walk upon it and whenever they come to a narrow ravine. The testudo was used to protect soldiers from all types of missiles and it could be formed by immobile troops and troops on the march. As foulkon, it played a role in the tactics employed by the Byzantines against their eastern enemies. During the Euromaidan protests in Kiev, Ukraine in 2014 the Berkut riot police used the tactic to protect themselves. Plutarch, Roman Lives, ed. Robin Waterfield ISBN 978-0-19-282502-5 Dio Cassius, Roman History Book 49,30 ed. Loeb Classical Library ISBN 0-674-99091-9
26.
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
27.
Saxons
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The Saxons were a group of Germanic tribes first mentioned as living near the North Sea coast of what is now Germany, in the late Roman empire. They were soon mentioned as raiding and settling in many North Sea areas, as well as pushing south inland towards the Franks. Significant numbers settled in parts of Great Britain in the early Middle Ages. Many Saxons however remained in Germania, where they resisted the expanding Frankish Empire through the leadership of the semi-legendary Saxon hero, the Saxons earliest area of settlement is believed to have been Northern Albingia, an area approximately that of modern Holstein. This general area also included the probable homeland of the Angles, Saxons, along with the Angles and other continental Germanic tribes, participated in the Anglo-Saxon settlement of Britain during and after the 5th century. The British-Celtic inhabitants of the isles tended to refer to all of these collectively as Saxons. It is unknown how many Saxons migrated from the Continent to Britain, the Saxons may have derived their name from seax, a kind of knife for which they were known. The seax has a symbolic impact in the English counties of Essex and Middlesex. Their names, along with those of Sussex and Wessex, contain a remnant of the word Saxon. The Elizabethan era play Edmund Ironside suggests the Saxon name derives from the Latin saxa, Their names discover what their natures are, More hard than stones, in the Celtic languages, the words designating English nationality derive from the Latin word Saxones. The most prominent example, a loanword in English, is the Scottish Gaelic Sassenach and it derives from the Scottish Gaelic Sasunnach meaning, originally, Saxon, from the Latin Saxones. Scots- or Scottish English-speakers in the 21st century usually use it as a term for an English person. The Oxford English Dictionary gives 1771 as the date of the earliest written use of the word in English. Sasanach, the Irish word for an Englishman, has the same derivation, as do the words used in Welsh to describe the English people, Cornish terms the English Sawsnek, from the same derivation. In the 16th century Cornish-speakers used the phrase Meea navidna cowza sawzneck to feign ignorance of the English language, England in Scottish Gaelic is Sasainn. Other examples include the Welsh Saesneg, Irish Sasana, Breton saoz, and Cornish Sowson, Sowsnek, the label Saxons was also applied to German settlers who migrated during the 13th century to southeastern Transylvania. From Transylvania, some Saxons migrated to neighbouring Moldavia, as the name of the town, Sas-cut, sascut is located in the part of Moldavia that is today part of Romania. The Finns and Estonians have changed their usage of the term Saxony over the centuries to denote now the country of Germany
28.
Haddingjar
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The Haddingjar refers on the one hand to legends about two brothers by this name, and on the other hand to possibly related legends based on the Hasdingi, the royal dynasty of the Vandals. It has been suggested that they were originally two Proto-Germanic legendary heroes by the name *Hazdingōz, meaning the longhairs, and that they were identical to the Alci mentioned by Tacitus. According to Tacitus, the Alci were worshiped as gods by priests in female clothing, among these last is shown a grove of immemorial sanctity. A priest in female attire has the charge of it, but the deities are described in Roman language as Castor and Pollux. Such, indeed, are the attributes of the divinity, the name being Alcis and they have no images, or, indeed, any vestige of foreign superstition, but it is as brothers and as youths that the deities are worshipped. Cassius Dio mentioned c.170 the Astingoi as a clan among the Vandals. In the Middle High German heroic lays, there are two brothers named Hartunge, who appear in the Scandinavian Þiðrekssaga as Hertnið and Hartnið. In later Middle High German works, they appear as Ortnīt, in the Hervarar saga, Gesta Danorum, Orvar-Odds saga and Lay of Hyndla, there are two Haddingjar among the twelve sons of the berserker Arngrim. Oddly, in Orvar-Odds saga, after his friend Orvar-Odd had killed these two Haddingjar, Hjalmar mentions in his death song two Haddingjar among his friends back in Sigtuna, in Hversu Noregr byggðist, there is a Hadding Raumsson who was the king of Haddingdalen in Norway. He is succeeded by a son and a grandson by the same name, after his great-grandson Högni, there is a succession of three more generations named Hadding, making six Haddingjar in the same line. The prose section following Helgakviða Hundingsbana II, there is a Helgi Haddingjaskati referring to a now lost poem named Káruljóð, which was named after Helgis beloved, the Valkyrie Kára. This poem survives in a form as Hrómundar saga Gripssonar. In Kálfsvísa, in Snorri Sturlusons Skáldskaparmál, it is said that the king of the Haddingjar rode a horse named Skævað, in Gesta Danorum there is a Haddingus about whom Saxo Grammaticus has many things to tell. He is possibly a memory of the Hasdingi, the clan of the Vandals. The original name of the Norwegian valley Hallingdal was Haddingjadalr, local legends state that Hadding was a king of this valley, and that it was named after him. After him, his sons, the two Haddings, fought over control of the valley, one of them was killed, and was buried in a mound in Gol, still known for sightings of huldufolk. ISBN 91-550-2511-0 The article Hadding in Nordisk familjebok
29.
Viktor Rydberg
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Abraham Viktor Rydberg was a Swedish writer and a member of the Swedish Academy, 1877–1895. Primarily a classical idealist, Viktor Rydberg has been described as Swedens last Romantic, Viktor Rydberg was of humble parentage. One biographer notes that, He had a struggle to satisfy the thirst for learning which was a leading passion of his life. The son of a soldier turned prison guard, Johann Rydberg, Viktor Rydberg had two brothers and three sisters. In 1834 his mother died during a cholera epidemic, despite his economic status, Rydberg was recognized for his talents. From 1838 to 1847, Rydberg attended grammar school, and studied law at the University in Lund from 1851 to 1852, due to financial reasons, his university studies ended after one year, without a degree. Afterward, he took a job as a private tutor, in 1855, he was offered work at the Göteborgs Handels- och Sjöfartstidning, a newspaper in Göteborg, where he would remain employed for more than 20 years. It was during this time that his first novels saw print and he soon become a central figure of late Romanticism in Sweden, and Swedens most famous living author. Throughout his adult life, Rydberg was active in politics, in 1859, he wrote a pamphlet on national defense, which inspired the Sharpshooters movement, a voluntary militia of some political importance during the 1860s. In 1870, he took a controversial pro-German stance during the Franco-Prussian War, representing the traditional economic system of Sweden, from 1870 to 1872, Rydberg was a member of the Swedish Parliament as a supporter of the Peasants Party. He worked diligently for working-class people and in 1906 his works on the question in both prose and poetry were regarded as part of the treasury of this class. He also advocated reform, purging foreign words from the Swedish language. Around this time, he advocated a more Germanic spelling of his own name, Viktor, throughout his life and career, Rydberg would coin several Swedish words, many, such as gudasaga for the foreign mythologi, still in use today. In 1884, he refused to support anarchist writer August Strindberg, as a juror in an 1888 trial of socialist leader Hjalmar Branting, Rydberg voted to send him to jail for blasphemy. They would never speak to one another again, for his lifetime of literary achievement, Rydberg received an honorary doctorate from the University of Uppsala in 1877 and was elected a member of the Swedish Academy the same year. In 1889, he was elected a member of the Royal Swedish Academy of Sciences. Rydberg died at the age of 66 on 21 September 1895 due to complications from diabetes, Rydbergs passing was reported as far away as the United States of America, where the New York Times published an obituary titled, Death of Prof. A. V. Rydberg, Career and Remarkable works of one of Swedens Leading Men, a national day of mourning would ensue all over Sweden
listen), while the Icelandic pronunciation is [ˈhœðʏr] (