1.
Odin
–
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
2.
Hel (location)
–
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
3.
W. G. Collingwood
–
William Gershom Collingwood was an English author, artist, antiquary and professor of Fine Arts at University College, Reading. His father, also William, was a watercolour artist, and had married Marie Eliabeth Imhoff of Arbon, soon young William was sketching with his father in the Lakes, North Wales, and Switzerland. In 1872, he went to University College, Oxford, where he met John Ruskin, during the summer of 1873 Collingwood visited Ruskin at Brantwood, Coniston. Two years later Collingwood was working at Brantwood with Ruskin and his associates, Ruskin admired his draughtsmanship, and so Collingwood studied at the Slade School of Art between 1876 and 1878. He exhibited at the Royal Academy in 1880, for many years Collingwood dedicated himself to helping Ruskin, staying at Brantwood as Ruskins assistant and travelling with him to Switzerland. In 1883 he married Edith Mary Isaac and settled near to Ruskin in the Lake District, Collingwood edited a number of Ruskins texts and published a biography of Ruskin in 1893. In 1896, Arthur Ransome met the Collingwoods and their children, Dora, Barbara, Ursula, Ransome learned to sail in Collingwoods boat, Swallow, and became a firm friend of the family, even proposing marriage to both Dora and Barbara. After a summer of teaching Collingwoods grandchildren to sail in Swallow II in 1928, Ransome wrote the first book in his Swallows and he used the names of some of Collingwoods grandchildren for his characters, the Swallows. By the 1890s Collingwood had become a painter and also joined the Cumberland and Westmorland Antiquarian. He wrote a number of papers for its Transactions, becoming editor in 1900. Collingwood was particularly interested in Norse lore and the Norsemen, and he wrote a novel, in 1897, Collingwood travelled to Iceland where he spent three months over the summer exploring with Jón Stefánsson the sites around the country in which the medieval Icelandic sagas are set. Collingwood was a member of the Viking Club and served as its president, in 1902 he co-authored again with Jón Stefánsson the first translation it published, a translation of Kormáks saga entitled, The Life and Death of Kormac the Skald. His study of Norse and Anglican archaeology made him recognized as a leading authority. Collingwood joined the Admiralty intelligence division at the outbreak of the First World War, in 1919, he returned to Coniston and continued his writing with a history of the Lake District and perhaps his most important work, Northumbrian Crosses of the pre-Norman Age. He was a climber and swimmer, and a tireless walker into advanced age. In 1927 he experienced the first of a series of strokes and his wife died in 1928, followed by Collingwood himself in 1932. Following the Armistice of 1918, and the treaty of 1919. His knowledge of and enthusiasm for Scandinavian crosses is displayed at Grasmere where the memorial on Broadgate Meadows is a pastiche of an Anglian cross, the short verse at its base was penned by his close friend Canon Hardwicke Rawnsley who was chair of the memorial committee
4.
Norse mythology
–
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
5.
Old Norse
–
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.
Horse
–
The horse is one of two extant subspecies of Equus ferus. It is an ungulate mammal belonging to the taxonomic family Equidae. The horse has evolved over the past 45 to 55 million years from a small multi-toed creature, Eohippus, into the large, humans began to domesticate horses around 4000 BC, and their domestication is believed to have been widespread by 3000 BC. Horses in the subspecies caballus are domesticated, although some domesticated populations live in the wild as feral horses. There is an extensive, specialized vocabulary used to describe equine-related concepts, covering everything from anatomy to life stages, size, colors, markings, breeds, locomotion, and behavior. Horses anatomy enables them to use of speed to escape predators and they have a well-developed sense of balance. Related to this need to flee from predators in the wild is an unusual trait, female horses, called mares, carry their young for approximately 11 months, and a young horse, called a foal, can stand and run shortly following birth. Most domesticated horses begin training under saddle or in harness between the ages of two and four and they reach full adult development by age five, and have an average lifespan of between 25 and 30 years. There are more than 300 breeds of horse in the world today, horses were historically used in warfare, from which a wide variety of riding and driving techniques developed, using many different styles of equipment and methods of control. Many products are derived from horses, including meat, milk, hide, hair, bone, humans provide domesticated horses with food, water and shelter, as well as attention from specialists such as veterinarians and farriers. Specific terms and specialized language are used to describe equine anatomy, different life stages, colors, depending on breed, management and environment, the modern domestic horse has a life expectancy of 25 to 30 years. Uncommonly, a few animals live into their 40s and, occasionally, the oldest verifiable record was Old Billy, a 19th-century horse that lived to the age of 62. In modern times, Sugar Puff, who had listed in Guinness World Records as the worlds oldest living pony. The exception is in endurance riding, where the age to compete is based on the animals actual calendar age. The following terminology is used to describe horses of various ages, Colt, a common terminology error is to call any young horse a colt, when the term actually only refers to young male horses. Filly, A female horse under the age of four, foal, A horse of either sex less than one year old. A nursing foal is sometimes called a suckling and a foal that has been weaned is called a weanling, most domesticated foals are weaned at five to seven months of age, although foals can be weaned at four months with no adverse physical effects. Gelding, A castrated male horse of any age, mare, A female horse four years old and older
7.
Poetic Edda
–
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
8.
Prose Edda
–
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.
Snorri Sturluson
–
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
10.
Loki
–
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
11.
Legendary saga
–
A legendary saga or fornaldarsaga is a Norse saga that, unlike the Icelanders sagas, takes place before the colonization of Iceland. There are some exceptions, such as Yngvars saga víðförla, which place in the 11th century. The sagas were probably all written in Iceland, from about the middle of the 13th century to about 1400, although it is possible that some may be of a later date, such as Hrólfs saga kraka. In terms of form, fornaldarsögur are similar to various other saga-genres, like sagas in other genres, many quote verse, but in the fornaldarsögur that verse is almost invariably in the metre of Eddaic verse. There are also very often mythological elements, such as dwarves, elves, giants, in centuries past, they were considered to be reliable historic sources by Scandinavian scholars, but since the 19th century, they have been considered to contain very little historic material. e. Iceland in the later Middle Ages and they may also be treated in a comic or parodic vein. In the case of Hervarar saga, it conveys names of places in Ukraine during the period c. 150-450, and the last part of the saga is used as a source for Swedish history. Other sagas deal with such as Ragnar Lodbrok, Hrólf Kraki. In these respects, then, the overlap in genre. They are also of value for scholars studying medieval Scandinavian ballads, particularly the Faroese kvæði. Moreover, they are very important for the study of Scandinavian and Germanic heroic legends together with Saxo Grammaticus Gesta Danorum which was based on the same heroic poetry. Philologists have generally held the legendary sagas in less esteem, in terms of their literary value, the content is often less realistic, the characters more two-dimensional, and the sagas often borrow themes from each other, and from folk tales. In these aspects of style and reception, the fornaldarsögur tend to overlap with the Chivalric sagas, the legendary sagas have influenced later writers, for instance the Swede Esaias Tegnér, who wrote Frithiofs saga, based on the Friðþjófs saga ins frœkna. Áns saga bogsveigis Ásmundar saga kappabana - A saga based on the German Lay of Hildebrand, bósa saga ok Herrauðs - like Beowulf it has Geatish heroes. Hervarar saga ok Heiðreks - a saga which may be of Swedish origin containing Swedish, Geatish and this saga still serves as a source for Swedish historians. Hjálmþés saga ok Ölvis Hrólfs saga Gautrekssonar - A saga about a Swedish warrior princess who is won by a Geatish prince, Hrólfs saga kraka, A saga which is related to the Old English poem Beowulf. Hrómundar saga Gripssonar Illuga saga Gríðarfóstra A saga of the traditional fairy tale kind
12.
Grani
–
In Norse mythology, Grani is a horse owned by the hero Sigurd. He is the horse that Sigurd receives through advice from the Norse god, Grani is a descendant of Odins own steed, Sleipnir. In chapter 13 of Völsunga saga, the hero Sigurðr is on his way to a wood when he meets an old man he had never seen before. Sigurd tells the old man that he is going to choose a horse, the old man says that they should drive the horses down to the river Busiltjörn. The two drive the horses down into the deeps of Busiltjörn, and all of the swim back to land but a large, young. The grey-bearded old man says that the horse is from Sleipnirs kin, Sigurd names the horse Grani, and the narrative adds that the old man was none other than Odin. In Norse iconography, the depiction of a carrying a chest was sufficient to represent Grani carrying the treasure after Sigurd had slain the dragon Fafnir. This is supported by a kenning in a Norse poem that refers to Granis beautious burden, in Wagners Ring cycle of operas the name is given to Brünnhildes horse. In Digimon Tamers, Grani was the name of the refitted Ark and it was directly stated in episode 47 that it was named by its creators after Siegfrieds horse, Grani. Grani would later be used to upgrade Gallantmon into his Crimson Mode during the finale of the series, on the Sigurd Representations in Great Britain and Scandinavia. In Jazayery, Mohammad Ali, Winter, Werner, languages and Cultures, Studies in Honor of Edgar C
13.
Gesta Danorum
–
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
14.
Saxo Grammaticus
–
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
15.
Gotland
–
Gotland, Gutland in the local dialect Gutnish, is a province, county, municipality, and diocese of Sweden. The province includes the islands of Fårö and Gotska Sandön to the north. The population is 57,221, of which about 23,600 live in Visby, the island of Gotland and the other areas of the province of Gotland make up less than one percent of Swedens total land area. From a military viewpoint, it occupies a location in the Baltic sea. The island is the home of the Gutes, and sites such as the Ajvide Settlement show that it has occupied since prehistory. This is consistent with the spread of peoples from the Middle East at about that time. Early on, Gotland became a center, with the town of Visby the most important Hanseatic city in the Baltic Sea. In late medieval times, the island had twenty district courts, each represented by its elected judge at the island-ting, new laws were decided at the landsting, which also took other decisions regarding the island as a whole. Gutasaga contains legends of how the island was settled by Þieluar, according to some historians, it is therefore an effort not only to write down the history of Gotland, but also to assert Gotlands independence from Sweden. In 1361, Valdemar Atterdag of Denmark invaded the island, the Victual Brothers occupied the island in 1394 to set up a stronghold as a headquarters of their own in Visby. At last, Gotland became a fief of the Teutonic Knights, an invading army of Teutonic Knights conquered the island in 1398, destroying Visby and driving the Victual Brothers from Gotland. The number of Arab dirhams discovered on the island of Gotland alone is astoundingly high, in the various hoards located around the island, there are more of these silver coins than at any other site in Western Eurasia. The total sum is almost as great as the number that has been unearthed in the entire Muslim world, the Berezan Runestone, discovered in 1905 in Ukraine, was made by a Varangian trader named Grani in memory of his business partner Karl. It is assumed that they were from Gotland, the Mästermyr chest, an important artefact from the Viking Age, was found in Gotland. The authority of the landsting was successively eroded after the island was occupied by the Teutonic Order, then sold to Eric of Pomerania, in late medieval times, the ting consisted of twelve representatives for the farmers, free-holders or tenants. Since the Treaty of Brömsebro in 1645, the island has remained under Swedish rule, the Order never regained its territory, and eventually it reestablished itself in Rome as the Sovereign Military Order of Malta. On 22 April 1808, during the Finnish War between Sweden and Russia, a Russian army landed on the shores of Gotland near Grötlingbo. Under command of Nikolaus Andrejevich Bodisco 1,800 Russians took the city of Visby without any combat or engagement, and occupied the island
16.
Picture stone
–
A picture stone, image stone or figure stone is an ornate slab of stone, usually limestone, which was raised in Germanic Iron Age or Viking Age Scandinavia, and in the greatest number on Gotland. More than four hundred picture stones are known today, all of the stones were probably erected as memorial stones, but only rarely beside graves. Some of them have been positioned where many people could see them at bridges and they mainly differ from runestones by presenting the message in pictures rather than runes. Some picture stones also have inscriptions, but they tell little more than to whom the stone was dedicated. Lacking textual explanations, the stones are consequently difficult to interpret. Similar stones in Scotland are known as Pictish stones, the dating of the stones is based on studies of their shapes and ornamentations. Subsequently, three groups of stones exist with various aesthetics, locations and purposes. The first group of stones was made in the period 400–600 CE. These have a form and the upper part is shaped like the edge of an axe. The ornamentations are usually circular forms with vortex patterns and spirals, but also with images of ships, people and these older stones were usually raised within grave fields, albeit not on the graves themselves. The second group of stones come from the period 500–700 CE. The third group was made in the period 700–1100 CE and they consist of stones with necks. Their ornamentations present an array of pictures, ships with checkered sails. The borders are decorated with various plaited patterns. Many scenes show sacrifices and battles, and a scene on the stones is a man, riding a horse. What is seen are representations of a wealth of legends and myths, sometimes depictions from Norse mythology and Norse legends can be identified, but largely the stories behind them have not survived in written form. The image stones are valuable sources which complete knowledge from archaeology concerning ships and sails, and they provide information on armor, wagons, the later stones in this group feature an upper field with stylized cross and dragon patterns in the style of some runestones. These stones usually were raised on roads and at bridges to be visible, a comparable tradition is found on the Isle of Man where high funeral crosses of stone were richly ornamented with the same teeming world of warriors and Norse deities as the image stones of Gotland
17.
Ardre image stones
–
The Ardre image stones are a collection of ten rune and image stones, dated to the 8th to 11th centuries, that were discovered at Ardre Church, in Ardre, Gotland, Sweden. The Ardre image stones were re-used as paving under the floors of the local church in the Ardre parish of Gotland. Before the historical significance of rune and image stones was understood or appreciated, they were used as materials in the construction of roads, bridges. The image stones were re-discovered when the church was being restored around 1900, the stones are now preserved in the Swedish Museum of National Antiquities in Stockholm. Other images on stone, such as the woman on the right with two swords, are not currently understood as they do not conform to any known Norse myth that has survived to the present time. The image-stones longboat motif with its mariners somewhat resembles a depiction found on the Överhogdal tapestry No, the inscription is classified as probably being in runestone style Pr3. The runic text, which is signed by a runemaster with the name of Likraiv. §B Raðþialfʀ ok Gæiʀniut þæiʀ gærðu mærki goð æftiʀ mann snaran, §A Óttarr and Geirhvatr and Eihvatr, they placed the stone in memory of Líknhvatr, their father. §B Ráðþjalfr and Geirnjótr, they made the landmark in memory of. Photo of Ardre VIII Ardre VIII Photograph of Ardre III side A - Swedish National Heritage Board Photograph of Ardre III side B - Swedish National Heritage Board 700 -900 bildsten Gotland
18.
Shamanism
–
The word shaman probably originates from the Tungusic Evenki language of North Asia. The term was introduced to the west after Russian forces conquered the shamanistic Khanate of Kazan in 1552, Mircea Eliade writes, A first definition of this complex phenomenon, and perhaps the least hazardous, will be, shamanism = technique of religious ecstasy. Shamanism encompasses the premise that shamans are intermediaries or messengers between the world and the spirit worlds. Shamans are said to treat ailments/illness by mending the soul, alleviating traumas affecting the soul/spirit restores the physical body of the individual to balance and wholeness. The shaman also enters supernatural realms or dimensions to obtain solutions to problems afflicting the community, Shamans may visit other worlds/dimensions to bring guidance to misguided souls and to ameliorate illnesses of the human soul caused by foreign elements. The shaman operates primarily within the world, which in turn affects the human world. The restoration of balance results in the elimination of the ailment, hundreds of books and academic papers on the subject have been produced, with a peer-reviewed academic journal being devoted to the study of shamanism. The word shaman probably originates from the Evenki word šamán, most likely from the dialect spoken by the Sym Evenki peoples. The Tungusic term was adopted by Russians interacting with the indigenous peoples in Siberia. It is found in the memoirs of the exiled Russian churchman Avvakum, adam Brand, a merchant from Lübeck, published in 1698 his account of a Russian embassy to China, a translation of his book, published the same year, introduced the word shaman to English speakers. The etymology of the Evenki word is sometimes connected to a Tungus root ša- to know, other scholars assert that the word comes directly from the Manchu language, and as such would be the only commonly used English word that is a loan from this language. This proposal has been thoroughly critiqued since 1917, ethnolinguist Juha Janhunen regards it as an anachronism and an impossibility that is nothing more than a far-fetched etymology. Ethnolinguists did not develop as a discipline nor achieve contact with these communities until the late 19th century, there is no single agreed-upon definition for the word shamanism among anthropologists. The English historian Ronald Hutton noted that by the dawn of the 21st century, the first of these uses the term to refer to anybody who contacts a spirit world while in an altered state of consciousness. The second definition limits the term to refer to those who contact a spirit world while in a state of consciousness at the behest of others. Problematically, scholars advocating the third view have failed to agree on what the defining technique should be, the fourth definition identified by Hutton uses shamanism to refer to the indigenous religions of Siberia and neighboring parts of Asia. According to the Golomt Center for Shamanic Studies, a Mongolian organisation of shamans, Shamans are normally called by dreams or signs which require lengthy training. However, shamanic powers may be inherited, turner and colleagues mention a phenomenon called shamanistic initiatory crisis, a rite of passage for shamans-to-be, commonly involving physical illness and/or psychological crisis
19.
Old Norse religion
–
Norse religion refers to the religious traditions of the Norsemen prior to the Christianization of Scandinavia, specifically during the Viking Age. Norse religion is a folk religion and it was the northern variation of the religion practiced in the lands inhabited by the Germanic tribes across most of Northern and Central Europe prior to Roman and Holy Roman incursions. However, it was not formalized nor categorized as a subset of Germanic paganism until it was described by outsiders who came into contact with native practitioners. The Norse - or people of Scandinavia - have always had contact with cultures outside Scandinavia. They were well aware of foreign religions and they traded, intermarried and sometimes worked as henchmen for other cultures, including the Romans. Most titles bestowed upon Norse religion are the ones which were used to describe the religion in a competitive manner, some of these terms were hedendom, Heidentum, Heathenry or Pagan. A more romanticized name for Norse religion is the medieval Icelandic term Forn Siðr or Old Custom, knowledge about Norse religion has been gathered from archaeological discoveries and from literature produced after the Christianization of Scandinavia. The literary sources that reference Norse paganism were written after the religion had declined, the vast majority of this came from 13th-century Iceland, where Christianity had taken longest to gain hold because of its remote location. The key literary texts for the study of Norse religion are the Prose Edda by Snorri Sturluson, the Gesta Danorum by Saxo Grammaticus and the Poetic Edda, by an unknown writer or writers. Saga literature informs us of the not only of the literate elite. Sagas are categorized on the basis of events described in the saga took place. Though Sagas are often mythical in nature, the ambitions are to give a realistic description of past events. Many sites in Scandinavia have yielded information about early Scandinavian culture. The oldest extant cultural examples are petroglyphs or helleristninger/hällristningar and these are usually divided into two categories according to age, hunting-glyphs and agricultural-glyphs. The hunting glyphs are the oldest and are found in Northern Scandinavia. These finds seem to indicate an existence based on hunting and fishing. These motifs were gradually subsumed by glyphs with more zoomorphic, or perhaps religious, the glyphs from the region of Bohuslän are later complemented with younger agricultural glyphs, which seem to depict an existence based more heavily on agriculture. These later motifs primarily depict ships, solar and lunar motifs, geometrical spirals and anthropomorphic beings and these finds shows several signs of rituals in a seemingly religious context, including some strong indications of human sacrifice such as the case of the Tollund Man bog body
20.
Scandinavian folklore
–
Scandinavian folklore or Nordic folklore is the folklore of Norway, Sweden, Finland, Denmark, Iceland and the Faroe Islands. Collecting folklore began when Gustavus Adolphus of Sweden sent out instructions to all of the priests in all of the parishes to collect the folklore of their area in the 1630s and they collected customs, beliefs that were not sanctioned by the church, and other traditional material. Iceland and the Faroe Islands are not part of Scandinavia, because of their common Germanic origin, Scandinavian folklore shows a large correspondence with folklores elsewhere, such as England and Germany, among others. Most of what has survived there might be found, of a nature, in Finland and Sapmi. These beings could be scared by a piece of iron or steel, such as a strategically placed pair of scissors or a knife, or with salt and fire. The stories about the livings and doings of these beings, and their interaction with humans, even the helpful tomte, nisse, gårdbo or gårdbuk could turn into a fearsome adversary if not treated with caution and respect. Many of them blend into each other when their morals and/or place of residence are similar, when the folktales were collected and printed, the illustrators started to give shape to the creatures that had hitherto lingered in obscurity. The creatures underwent a metamorphosis and became concrete figures to the people of Scandinavian countries, perhaps most abundant are the stories about the race of trolls. Scandinavian trolls tend to be big, hairy, stupid. Any human with courage and presence of mind can outwit a troll, and they are said to have a temperament like a bear—which are, incidentally, their favorite pets—good-natured when they are left in peace, and savage when they are teased. Trolls come in different shapes and forms, and are generally not fair to behold. Trolls live throughout the land, dwelling in mountains, under bridges, while the trolls who live in the mountains are very wealthy, hoarding mounds of gold and silver in their cliff dwellings, the most dangerous trolls live in lonely huts in the forest. The trolls have their own king, called Dovregubben, who lives inside the Dovre Mountains with his court, Dovregubben and his court are described in detail in Ibsens Peer Gynt. After the integration of Christianity into Scandinavian folklore, trolls developed a hatred of church-bells, Trolls are often said to be able to change their appearance and did so in order to trick humans into doing what they wanted. For example, Trolls may present a beautiful appearance in order to trick a character into following them into their mountain home, then hold the character captive for years. In older tales, the word troll/trold may simply mean to badly harm/hurt someone, someone who is a troll is someone who may eat human flesh or engage in other socially-unacceptable acts, luckily, trolls are said to turn into stone when exposed to sunlight. The Huldra, Hylda, Skogsrå or Skogfru is a seductress who lives in the forest. One of her methods is to appear out of the rain and mist, friendly
21.
John Bauer (illustrator)
–
John Albert Bauer was a Swedish painter and illustrator. His work is concerned with landscape and mythology, but he also composed portraits and he is best known for his illustrations of early editions of Bland tomtar och troll, an anthology of Swedish folklore and fairy tales. Bauer was born and raised in Jönköping, at 16 he moved to Stockholm to study at the Royal Swedish Academy of Arts. While there he received his first commissions to illustrate stories in books and magazines, and met the artist Ester Ellqvist and he traveled throughout Lappland, Germany and Italy early in his career, and these cultures deeply informed his work. He painted and illustrated in a nationalistic style, in part influenced by the Italian Renaissance. Most of his works are watercolors or prints in monochrome or muted colours, he also produced oil paintings and his illustrations and paintings broadened the understanding and appreciation of Swedish folklore, fairy tales and landscape. When Bauer was 36, he, Ester and their son, Bengt, John Bauer was born and raised in Jönköping, the son of Josef Bauer, a man of Bavarian origin, and Emma Charlotta Wadell, from a farming family from the town Rogberga just outside Jönköping. Josef Bauer came to Sweden in 1863, penniless and he founded a successful charcuterie business at the Östra Torget in Jönköping. The family lived in the apartment above the shop until 1881 when the construction of their house in Sjövik was completed. John, born in 1882, lived at the Villa Sjövik by the shore of Lake Rocksjön with his parents, the family home would remain central to him long after he lived on his own. His initial schooling was at the Jönköpings Högre Allmäna Läroverk, followed by the Jönköpings Tekniska Skola from 1892 to 1898 and he spent most of his time drawing caricatures of his teachers and daydreaming, something not appreciated by his teachers. He was given to sketching and drawing from an early age, however, when he turned sixteen and wanted to go to Stockholm to study art, they were enthusiastic for him and backed him financially. In 1898, he was one of the 40 applicants to study at the Royal Swedish Academy of Arts and he spent the next two years at the Kaleb Ahltins school for painters. During this time he was, like most teenagers, torn between hope and despair, something that is reflected in his artwork. By 1900, he was old enough to attend the Academy of Arts and he studied traditional illustrations and made drawings of plants, medieval costumes and croquis, all of which served him in his later work. One of his teachers, professor and noted historic painter, Gustaf Cederström praised Bauer, While at the academy, he received his first commissions to illustrate magazines and books. In 1904 he traveled to Lappland to create paintings for a book on the culture of the county, at the end of 1905, he left the academy and put Artist on his business card. Following the discovery of ore deposits in the north of Sweden, Lappland became a frontier for industrial development, instead of an exotic wilderness of the Sami culture
22.
Baldrs draumar
–
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
23.
Valkyrie
–
In Norse mythology, a valkyrie is one of a host of female figures who choose those who may die in battle and those who may live. Selecting among half of those who die in battle, the valkyries bring their chosen to the hall of the slain, Valhalla. There, the deceased warriors become einherjar, when the einherjar are not preparing for the events of Ragnarök, the valkyries bear them mead. They appear throughout the poetry of skalds, in a 14th-century charm, scholarly theories have been proposed about the relation between the valkyries, the norns, and the dísir, all of which are supernatural figures associated with fate. Archaeological excavations throughout Scandinavia have uncovered amulets theorized as depicting valkyries, in modern culture, valkyries have been the subject of works of art, musical works, video games and poetry. The word valkyrie derives from Old Norse valkyrja, which is composed of two words, the noun valr and the verb kjósa, together, they mean chooser of the slain. The Old Norse valkyrja is cognate to Old English wælcyrge, from the Old English and Old Norse forms, philologist Vladimir Orel reconstructs a Proto-Germanic form, *wala-kuzjōn. However, the term may have been borrowed into Old English from Old Norse, other terms for valkyries in Old Norse sources include óskmey, appearing in the poem Oddrúnargrátr and Óðins meyjar, appearing in the Nafnaþulur. Óskmey may be related to the Odinic name Óski, referring to the fact that Odin receives slain warriors in Valhalla, valkyries are mentioned or appear in the Poetic Edda poems Völuspá, Grímnismál, Völundarkviða, Helgakviða Hjörvarðssonar, Helgakviða Hundingsbana I, Helgakviða Hundingsbana II and Sigrdrífumál. In stanza 30 of the poem Völuspá, a völva tells Odin that she saw valkyries coming from far away who are ready to ride to the realm of the gods. The völva follows this with a list of six valkyries, Skuld who bore a shield, Skögul, Gunnr, Hildr, afterwards, the völva tells him she has listed the ladies of the War Lord, ready to ride, valkyries, over the earth. A prose introduction in the poem Völundarkviða relates that the brothers Slagfiðr, Egil, there, early one morning, the brothers find three women spinning linen on the shore of the lake Úlfsjár, and near them were their swans garments, they were valkyries. Two, daughters of King Hlödvér, are named Hlaðguðr svanhvít and Hervör alvitr, the brothers take the three women back to their hall with them—Egil takes Ölrún, Slagfiðr takes Hlaðguðr svanhvít and Völund takes Hervör alvitr. They live together for seven winters, until the women fly off to go to a battle, Egil goes off in snow-shoes to look for Ölrún, Slagfiðr goes searching for Hlaðguðr svanhvít and Völund sits in Úlfdalir. He finds one particularly striking, this valkyrie is detailed later in a narrative as Sváva, king Eylimis daughter. The valkyrie speaks to the man, and gives him the name Helgi. The valkyrie tells him she knows of a hoard of swords in Sigarsholm, and that one of them is of particular importance, further into the poem, Atli flytes with the female jötunn Hrímgerðr. After Hrímgerðr is turned to stone by the daylight, a prose narrative continues that Helgi, Helgi and Sváva are betrothed and love one another dearly
24.
Sigurd
–
Sigurd is a legendary hero of Norse mythology, as well as the central character in the Völsunga saga. The earliest extant representations for his legend come in form from seven runestones in Sweden and most notably the Ramsund carving. As Siegfried, he is one of the heroes in the German Nibelungenlied, as Sivard Snarensven he was the hero of several medieval Scandinavian ballads. The name Sigurðr is not the name as the German Siegfried. The Old Norse form of Siegfried would have been Sigfroðr, Sivard is a variant form of Sigurðr. These name forms all share the first element Sig-, which means victory, in the Völsunga saga, Sigurd is supposedly the posthumous son of Sigmund and his second wife, Hiordis. Sigmund dies in battle when he attacks Odin, and Odin shatters Sigmunds sword, dying, Sigmund tells Hiordis of her pregnancy and bequeaths the fragments of his sword to his unborn son. Hiordis marries King Alf, and then Alf decides to send Sigurd to Regin as a foster, Regin tempts Sigurd to greed and violence by first asking Sigurd if he has control over Sigmunds gold. When Sigurd says that Alf and his control the gold and will give him anything he desires. Sigurd replies that he is treated as an equal by the kings, then Regin asks Sigurd why he acts as stableboy to the kings and has no horse of his own. Sigurd then goes to get a horse, an old man advises Sigurd on choice of horse. In this way Sigurd acquires Grani, a directly descended from Odins own horse. Finally, Regin tries to tempt Sigurd by telling him the story of the Otters Gold, Regin explains to Sigurd that his father is Hreidmar, a powerful magician, and that his two brothers are Ótr and Fafnir. Regin explains that he is a master at smithing and he also describes how his brother, Ótr possesses many magical talents. Regin tells a story of how Ótr enjoys taking the form of an otter and swimming at a waterfall, Andvari often assumes the form of a pike and swims in the same pool as well. One day, the Æsir see Ótr in the form of an otter carrying a fish in his mouth on the banks, loki kills him for his pelt. They take the pelt to the home of Hreidmar to display their catch. Hreidmar, Fafnir, and Regin promptly seize the Æsir and demand compensation for the death of Ótr, loki acquires a net from the sea giantess, Rán
25.
Runes
–
The Scandinavian variants are also known as futhark or fuþark, the Anglo-Saxon variant is futhorc or fuþorc. Runology is the study of the runic alphabets, runic inscriptions, runestones, runology forms a specialised branch of Germanic linguistics. The earliest runic inscriptions date from around 150 AD, the characters were generally replaced by the Latin alphabet as the cultures that had used runes underwent Christianisation, by approximately 700 AD in central Europe and 1100 AD in northern Europe. However, the use of runes persisted for specialized purposes in northern Europe, until the early 20th century, runes were used in rural Sweden for decorative purposes in Dalarna and on Runic calendars. The three best-known runic alphabets are the Elder Futhark, the Anglo-Saxon Futhorc, and the Younger Futhark, the Younger Futhark is divided further into the long-branch runes, short-branch or Rök runes, and the stavlösa or Hälsinge runes. The Younger Futhark developed further into the Medieval runes, and the Dalecarlian runes, historically, the runic alphabet is a derivation of the Old Italic scripts of antiquity, with the addition of some innovations. Which variant of the Old Italic family in particular gave rise to the runes is uncertain, suggestions include Raetic, Venetic, Etruscan, or Old Latin as candidates. At the time, all of these scripts had the same angular letter shapes suited for epigraphy, the process of transmission of the script is unknown. The oldest inscriptions are found in Denmark and northern Germany, not near Italy, a West Germanic hypothesis suggests transmission via Elbe Germanic groups, while a Gothic hypothesis presumes transmission via East Germanic expansion. The runes were in use among the Germanic peoples from the 1st or 2nd century AD, no distinction is made in surviving runic inscriptions between long and short vowels, although such a distinction was certainly present phonologically in the spoken languages of the time. Similarly, there are no signs for labiovelars in the Elder Futhark The term runes is used to distinguish these symbols from Latin and it is attested on a 6th-century Alamannic runestaff as runa and possibly as runo on the 4th-century Einang stone. The name comes from the Germanic root run-, meaning secret or whisper, in Old Irish Gaelic, the word rún means mystery, secret, intention or affectionate love. Similarly in Welsh and Old English, the word rhin and rūn respectively means mystery, secret, secret writing, or sometimes in the sense of the word. Ogham is a Celtic script, similarly carved in the Norse manner, the root run- can also be found in the Baltic languages, meaning speech. In Lithuanian, runoti means both to cut and to speak, according to another theory, the Germanic root comes from the Indoeuropean root *reuə- dig. The Finnish term for rune, riimukirjain, means scratched letter, the Finnish word runo means poem and comes from the same source as the English word rune, it is a very old loan of the Proto-Germanic *rūnō. The runes developed centuries after the Old Italic alphabets from which they are historically derived. The formation of the Elder Futhark was complete by the early 5th century, specifically, the Raetic alphabet of Bolzano is often advanced as a candidate for the origin of the runes, with only five Elder Futhark runes having no counterpart in the Bolzano alphabet
26.
Baldr
–
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
27.
Saddle
–
The saddle is a supportive structure for a rider or other load, fastened to an animals back by a girth. The most common type is the equestrian saddle designed for a horse, today, modern saddles come in a wide variety of styles, each designed for a specific equestrianism discipline, and require careful fit to both the rider and the horse. Proper saddle care can extend the life of a saddle. The word saddle originates from the Proto-Germanic language *sathulaz, with cognates in various other Indo-European languages, there is evidence, though disputed, that humans first began riding the horse not long after domestication, possibly as early as 4000 BC. The earliest known saddle-like equipment were fringed cloths or pads used by Assyrian cavalry around 700 BC and these were held on with a girth or surcingle that included breast straps and cruppers. From the earliest depictions, saddles became status symbols and these were located in Pazyryk burials finds. These saddles, found in the Ukok Plateau, Siberia were dated to 500-400 BC, the Scythians also developed an early saddle that included padding and decorative embellishments. Though they had neither a solid tree nor stirrups, these early treeless saddles and pads provided protection and comfort to the rider, with a slight increase in security. The Sarmatians also used a padded treeless early saddle, possibly as early as the century, BC. Early solid-treed saddles were made of felt that covered a wooden frame, Asian designs appeared during the Han dynasty approximately 200 BC. One of the earliest solid-treed saddles in the west was the four horn design, the invention of the solid saddle tree also allowed development of the true stirrup as it is known today. Without a solid tree, the weight in the stirrups creates abnormal pressure points. Thermography studies on treeless and flexible tree saddle designs have found there is considerable friction across the center line of a horses back. The stirrup was one of the milestones in saddle development, the first stirrup-like object was invented in India in the 2nd century BC, and consisted of a simple leather strap in which the riders toe was placed. It offered very little support, however, the stirrup appeared to be in widespread use across China by 477 AD. which then spread to Europe. This invention gave great support for the rider, and was essential in later warfare, Saddles were improved upon during the Middle Ages, as knights needed saddles that were stronger and offered more support. The resulting saddle had a higher cantle and pommel and was built on a tree that supported more weight from a rider with armor. This saddle, a predecessor to the modern Western saddle, was padded with wool or horsehair
28.
Fenrir
–
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
29.
Gylfaginning
–
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
30.
Gylfi
–
In Norse mythology, Gylfi, Gylfe, Gylvi, or Gylve was the earliest recorded king in Scandinavia. He often uses the name Gangleri when appearing in disguise, the traditions on Gylfi deal with how he was tricked by the gods and his relations with the goddess Gefjon. The Ynglinga saga section of Snorris Heimskringla and the Eddic poem Ragnarsdrápa tell a legend of how Gylfi was seduced by the goddess Gefjon to give her as much land as she could plow in one night. Gefjon transformed her four sons into oxen and took enough land to create the Danish island of Zealand, Gylfi and the remaining older bronze-age inhabitants of the land then supposedly adopted the religion of the Æsir and began to live under their rule. Snorri presents an outline of Norse mythology through a dialogue between Gylfi and three rulers of the Æsir and it is possible that Snorris account is based on an old tradition tracing particular beliefs or foundations of particular Norse cults to this legendary Gylfi. However, it is more likely that the Historic King Gylfi was simply already a follower of the Ancient Norse Religion. In one version of Hervarar saga, king Gylfi married his daughter Heiðr to Sigrlami, Heiðr and Sigrlami had the son Svafrlami who forced the two dwarves Dvalin and Durin to forge the magic sword Tyrfing
31.
Midgard
–
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
32.
Valhalla
–
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
33.
Freyja
–
In Norse mythology, Freyja is a goddess associated with love, sex, beauty, fertility, gold, seiðr, war, and death. Along with her brother Freyr, her father Njörðr, and her mother, stemming from Old Norse Freyja, modern forms of the name include Freya, Freyia, and Freja. Freyja rules over her heavenly afterlife field Fólkvangr and there receives half of those that die in battle, whereas the other half go to the god Odins hall, within Fólkvangr is her hall, Sessrúmnir. Freyjas husband, the god Óðr, is frequently absent and she cries tears of red gold for him, and searches for him under assumed names. Freyja has numerous names, including Gefn, Hörn, Mardöll, Sýr, Valfreyja, Freyjas name appears in numerous place names in Scandinavia, with a high concentration in southern Sweden. Various plants in Scandinavia once bore her name, but it was replaced with the name of the Virgin Mary during the process of Christianization, rural Scandinavians continued to acknowledge Freyja as a supernatural figure into the 19th century, and Freyja has inspired various works of art. The name Freyja is transparently lady and ultimately derives from Proto-Germanic *frawōn, Freyja is cognate with, for example, Old Saxon frūa lady, mistress and Old High German frouwa. The theonym Freyja is thus considered to have been an epithet in origin, in the Poetic Edda, Freyja is mentioned or appears in the poems Völuspá, Grímnismál, Lokasenna, Þrymskviða, Oddrúnargrátr, and Hyndluljóð. Völuspá contains a stanza that mentions Freyja, referring to her as Óðs girl, Freyja being the wife of her husband, the stanza recounts that Freyja was once promised to an unnamed builder, later revealed to be a jötunn and subsequently killed by Thor. In the poem Grímnismál, Odin tells the young Agnar that every day Freyja allots seats to half of those that are slain in her hall Fólkvangr, while Odin owns the other half. In the poem Lokasenna, where Loki accuses nearly every female in attendance of promiscuity and/or unfaithfulness, the introduction to the poem notes that among other gods and goddesses, Freyja attends a celebration held by Ægir. Loki tells her to be silent, and says that he knows all about her—that Freyja is not lacking in blame, for each of the gods and elves in the hall have been her lover. She says that Loki is lying, that he is just looking to blather about misdeeds, and since the gods and goddesses are furious at him, he can expect to go home defeated. Loki tells Freyja to be silent, calls her a malicious witch, Njörðr interjects—he says that a woman having a lover other than her husband is harmless, and he points out that Loki has borne children, and calls Loki a pervert. The poem Þrymskviða features Loki borrowing Freyjas cloak of feathers and Thor dressing up as Freyja to fool the lusty jötunn Þrymr, in the poem, Thor wakes up to find that his powerful hammer, Mjöllnir, is missing. Thor tells Loki of his hammer, and the two go to the beautiful court of Freyja. Thor asks Freyja if she will lend him her cloak of feathers, Freyja agrees, Loki flies away in the whirring feather cloak, arriving in the land of Jötunheimr. He spies Þrymr sitting on top of a mound, Þrymr reveals that he has hidden Thors hammer deep within the earth and that no one will ever know where the hammer is unless Freyja is brought to him as his wife
