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Realm 9: Alfheim – Overview and writing prompts, The Nine Realms, an ArtiPeeps Combined Arts Collaboration 2014-2015

8 Jun

nine realms8

The Nine Realms

9 months, 22 poets and writers, 22 Artists, 3 composers, 1 Viking boat= a magical reworking of Norse Mythology for contemporary audiences

Alfheim

(the realm of the Light Elves)

 

Vikings Ahoy!

Here we are in early June with the deadline for the poetry and writing for the 8th realm MidgardĀ having just passed onĀ Friday 5th JuneĀ ! Who’d have thought we would now be on the final realm!Ā 

From this week onwards I will be posting out Midgard poetry.

This month we are outlining the final Norse realm of Alfheim. The finalĀ deadline for all writing, poetry and mp3s for this realm is Friday 19th JuneĀ 2015. I can hardly believe that this is the final realm. Congratulations to all the Viking poets for their creativity, interest and perseverance!!

These monthly posts will draw from a range of primary and secondary source materials and focus on selected gods, themes and stories that circle around the highlighted realm. They will not attempt to cover everything, and writers can embrace any other stories and characters within their writing which is not covered. Month by month we will be building our own magical, contemporary norse world whilst exploring the themes of POWER, NATURE and RELIGION. The project’s overall intention is to embrace orality, translation, storytelling and rhythm all of which are inspired by the origins of the oral tradition of the Norse Sagas.

I may well put out little mini-posts intermittently focusing on orality and poetic form as necessary. Ā 

What is presented below is designed to inspire, present basic information and offer a starting point for individual creativity within the project inspired by the themes, characters and spirit of the myths and stories.

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The Crossover by Ann Supan (Alfheim, Realm of the Light Elves)

The Crossover by Ann Supan (Alfheim, Realm of the Light Elves)

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1. A Brief Overview of Alfheim

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It is often said that there are two sorts of elves in Norse mythology: Ā the Dark Elves and the Light Elves. The Light Elves are said to live in Alfheim near the gods’ halls and palaces. In old Norse,Ā  Ālfheimr, is known as ‘Land of the Fairies’. Ā Alfheim is quite an elusive realm, and is only mentioned twice in the Norse Saga texts, making the realm quite hard, in actuality, to bring to life. The god Freyr is said to be the ruler of Alfheim. Ā Elves, along with Freyr, are generally associated with the sun Ā (Ellis Davison: 156). This derives from ‘aĀ kenning for the sun, Ć”lfrǫðull…to some suggestive of a close link between the elves’. Ā (Motz 1973, p.Ā 99; Hall 2004, p.Ā 40.)

Scholars of Old Norse mythology now focus on references to elves in Old Norse poetry, particularly the Elder Edda. The only person explicitly identified as an elf in classical Eddaic poetry, if any, is Vƶlundr, the Ā main character in theĀ VƶlundarkviưaĀ Ā However, elves are frequently mentioned in the sequence of words: Æsir ok Ɓlfar (‘Ɔsir and elves’). This sequence shows a strong tradition of an association between the elves with the Ɔsir.

See:Ā http://en.wikipedia.org/wiki/%C3%81lfheimr

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The two references two elves within the Edda texts are as follows:

1. In the eddic text  GrímnismÔl, describing 12 divine residencies of the gods

in stanzaĀ 5 :

Ɲdalir call they Ā  Ā  the place where Ull

A hall for himself hath set;
And Álfheim the gods     to Frey once gave

As a tooth-gift in ancient times.

nb. A tooth-gift was a gift given to a childĀ on the cutting of the first tooth.

You can find the whole GrímnismÔl  here 

2. In the GylfaginningĀ of The Prose Edda:

‘That which is called Ɓlfheim is one, where dwell the peoples called ljósĆ”lfar [Light Elves]; but the dƶkkĆ”lfar [Dark Elves] dwell down in the earth, and they are unlike in appearance, but by far more unlike in nature. The Light-elves are fairer to look upon than the sun, but the Dark-elves are blacker than pitch. There are in fact some references that there are three places within the heavens where the light elves live:Ā GimlĆ©,Ā AndlĆ ngrĀ andĀ  VƭưblĆ”inn. This information is passed onto the king of Gylfi by a figure calledĀ High.’

You can find the whole GylfaginningĀ here.

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For more information on the history of elves see: http://en.wikipedia.org/wiki/Elf

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For more details on DökkÔlfar and LjósÔlfar see http://en.wikipedia.org/wiki/D%C3%B6kk%C3%A1lfar_and_Lj%C3%B3s%C3%A1lfar

Ā 

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Eye of Freyr by Elaine Offley (Alfheim)

Eye of Freyr by Elaine Offley (Alfheim)

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2. Story Focus: Lovelorn Freyr

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Freyr goes to  HlidskjÔlf (the high seat of Odin which allows him to see all the realms~). He gazes across the realms and sees Gerðr the giantess with whom he falls immediately in love. Rather than becoming full of joy he broods and ruminates. Opening up to his page Skírnir, he asks Skirnir to woo Geror for him.

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ƞƔ svarar SkĆ­rnir, sagưi svĆ” at hann skal fara sendiferư en Freyr skal fĆ” honum sverư sitt. ƞat var svĆ” gott sverư at sjĆ”lft vĆ”sk. En Freyr lĆ©t eigi þat til skorta ok gaf honum sverưit. ƞƔ fór SkĆ­rnir ok baư honum konunnar ok fekk heitit hennar, ok nĆ­u nóttum sƭưar skyldi hon þar koma er Barey heitir ok ganga þÔ at brullaupinu meư Frey. Gylfaginning 37, EB’s edition Then SkĆ­rnir answered thus: he would go on his errand, but Freyr should give him his own sword-which is so good that it fights of itself;- and Freyr did not refuse, but gave him the sword. Then SkĆ­rnir went forth and wooed the woman for him, and received her promise; and nine nights later she was to come to the place called Barrey, and then go to the bridal with Freyr. Gylfaginning XXXVII, Brodeur’s translation

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Sword of Freyr

Sword of Freyr

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As mentioned above, Skrinir asks for Freyr’s sword in return. This request has apocalyptic consequences as Freyr does not have his sword to fight Surt atĀ Ragnarƶk .

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3.  Völundr, the main character in the Völundarkviða in the Poetic Edda (see overview above)

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Vƶlundr

Vƶlundr

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Volundr is an artisan andĀ is said to be one of the three sons of the king of the Finns. He is calledĀ Ā “prince of the elves” (vĆ­si Ć”lfa) and “one of the Ć”lfar” or “leader of Ć”lfar”.Ā 

So the story goes, his wife Hervƶr-Alvitr, a valkyrie (“chooser of the slain”), abandons him after nine years of marriage. He is then captured by Nƭưuưr, a cruel-king of NƤrke (Sweden) who is out to getĀ Vƶlundr’s gold. Vƶlundr is put to work on an island making artifacts for the king. Eventually he finds means to take revenge and escapes. Ā He kills Niưuưr’s sons, impregnates his daughter and then flies away laughing.

http://en.wikipedia.org/wiki/V%C3%B6lundarkvi%C3%B0a

You can find the full Völundarkviða here

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4. Fertility Ceremonies and the Elves

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Sunwheel

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There is a story of an early King of Norway called Olaf, to whom, In a times of scarcity, men sacrificed. Ā This is stated Ā in Flaseyjarbok, one of the largest medieval manuscripts. At times of famine they also sacrificed to Freyr as the god of fertility. ‘When Olaf the Holy was born, he was named after the earlier Olaf. He was christend ‘Olaf, Elf of Geirstad’ [11, 106]. Viking burials quite often seemed to be connected with elves, right into the late Viking age (Ellis-Davidson: 155-156). This is seen to be evidence of the connection between fertility, elves and Freyr.

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King Harold receiving the Flateyjarbok

King Harold receiving the Flateyjarbok

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Another mention…Sigvat, a poet who served under King Olaf the Holy, Ā in 1018, Ā describes how the king could not find a place to stay because everyone was too busy sacrificing to elves.

Cupmarks on rocks and stones are found in association with sunwheels. Farmers have often poured milk into similar cups as offerings to the elves.

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Themes, Relevance and Questions

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Good versus evil

It has been suggested that this classification of the two types of elves has come in as part of the influence of Christianity. A division of good and evil, light and dark. Ā To consider this in relation to notions of power, fairness and spirituality within The Prose and Poetic Eddas is an interesting notion.

Exploration Point:Ā  What other examples of dualism, or contrasts can you find in the Eddas and how are they used to comment on the world and the heavens?Ā 

 

Things of Interest:

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1. The Speech of Elves

 J. R. R. Tolkien anglicized Álfheim as Elvenhome, or Eldamar in the speech of the Elves. In his stories, Eldamar lies in a coastal region of the Undying Lands in the Uttermost West. The High King of the Elves in the West was Ingwë, an echo of the name Yngvi often found as a name for Frey, whose abode was in Álfheim according to the GrímnismÔl.

For an Interview with Tolkien from 1968 go to: https://youtu.be/DFcjBzP7H-E

Ā 2.Ā Light-elves, Dark-elves, and Others:Ā Tolkien’s Elvish Problem byĀ Tom Shippey

http://muse.jhu.edu/journals/tolkien_studies/v001/1.1shippey.html

 

Ā 3.Ā Norse Elements in the work of J.R.R. Tolkien

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4. Drawing Lessons: How to draw Elves

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5. Prospero’s Speech from The Tempest : ‘Ye elves of hills, brooks, standing lakes, and groves’

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6. Ā Words For Sentient Beings From Norse Texts

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_field_diagram_of_words_for_sentient_beings_in_Old_Norse

 

http://en.wikipedia.org/wiki/Elf#Old_Norse_texts

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Optional Poetry and Writing Prompts:

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Luc Bat

A Vietnamese verse form. Where lines of 6 syllables alternate with lines of 8 syllables. The name Luc Bat means six-eight. The rule is that each rhyme occurs three times – first at the end of an 8-syllable line, then at the end of the next 6-syllable line, and finally as the sixth syllable of the next 8-syllable line.Ā The end loops back to the beginning. They can be both long and short.

See here for more details.

Writing Word Prompts:Ā  Song, Hope, Motion, Contempt, Time, Darkness, Haunting, Magic, Heavens, Memory

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To confirm,Ā the deadline for all writing, poetry and mp3s for the AlfheimĀ realm is Friday 19th JuneĀ 2015.

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Ā Thank you so much for your interest. Do keep an eye out for more of The Nine Realms project updates.Ā 

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References

Ā Allan, T (2010) Vikings, The Battle at the End of Time, London: Watkins Publishing

Crossley-Holland, K (1993) The Penguin Book of Norse Myths: Gods of the Vikings, London, Penguin Books

Ellis Davidson, H.R. (1990) Gods and Myths of Northern Europe, Penguin Books

Hollander, L.M. (1996) tr. The Poetic Edda, Austin: University of Texas Press

Larrington, C. (1996) tr. The Poetic Edda, Oxford University Press

Sturluson, S. (2005) The Prose Edda, Penguin Classics, tr. Jesse L. Byock

Realm 8: Midgard – Overview and writing prompts, The Nine Realms, an ArtiPeeps Combined Arts Collaboration 2014-2015

6 May

nine realms8

The Nine Realms

9 months, 22 poets and writers, 22 Artists, 3 composers, 1 Viking boat= a magical reworking of Norse Mythology for contemporary audiences

Midgard

(the realm of the people)

 

Vikings Ahoy!

Here we are in early May, Ā with the deadline for the poetry and writing for the 7th realm Muspelheim due in on Monday 11th May !Ā I shall be posting out more Helheim poems this week and next week.Ā This month we are outlining the realm of Midgard. The deadline for all writing, poetry and mp3s for this realm is Friday 5th JuneĀ 2015.

These monthly posts will draw from a range of primary and secondary source materials and focus on selected gods, themes and stories that circle around the highlighted realm. They will not attempt to cover everything, and writers can embrace any other stories and characters within their writing which is not covered. Month by month we will be building our own magical, contemporary norse world whilst exploring the themes of POWER, NATURE and RELIGION. The project’s overall intention is to embrace orality, translation, storytelling and rhythm all of which are inspired by the origins of the oral tradition of the Norse Sagas.

I may well put out little mini-posts intermittently focusing on orality and poetic form as necessary. Ā 

What is presented below is designed to inspire, present basic information and offer a starting point for individual creativity within the project inspired by the themes, characters and spirit of the myths and stories.

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Aurgelmir: Sea from Blood, Sky from SkullĀ (2015) by Raymond Bentley

Aurgelmir: Sea from Blood, Sky from SkullĀ (2015) by Raymond Bentley, for The Nine Realms Project

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1. A brief Overview of Midgard

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Crossley Holland (xx-xxi), explains that Midgard is on the second level of the Norse universe’s ‘tricentric structure’. Midgard is in the middle, surrounded by a sea, which Snorri Sturluson (author of The Prose Edda, See ‘Things of Interest’ below)Ā says ‘to cross it would strike most men impossible’.

When Ymir formed the world he allocated Midgard, the central region, to the human race. Midgard is ringed by a fence made out of Ymir’s eyebrows. Human’s did not make their home in Asgard until Midgard was formed where they created their palatial residences. One root of the The world tree, Yggdrasil, runs through Midgard. It is the place where Odin, in disguise, would go on a quest for more understanding of the world. Midgard is also the only realm that is seen to be visible, the other 8 realms move between visibility and invisibility.

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LĆ­f and LĆ­fthrasir by Lorenz FrĆølich

LĆ­f and LĆ­fthrasir by Lorenz FrĆølich

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2. Midgard Following  Ragnarök

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It is said in The Prose and Poetic Eddas that, Midgard will be destroyed at Ragnarök, the battle at the end of the world. Out of this  Jörmungandr, the World Serpent, will arise from the ocean, poisoning both land and sea with his venom. He will cause the sea to rear up catastrophically against the land. The final battle will take place on the field of Vígríðr. After this battle Midgard and almost all life, will have been eradicated. The earth will sink into the sea.  The earth, however, will rise again, fertile and green when the cycle repeats and the creation begins again. 

After the cataclysmic events of Midgard it is said that a couple (Lif and Lifthrasir) will survive the destruction hidden in Hoddmimir’s Wood, a dark cavern or forest, where they survive living off dew. From their children life will engender, and offspring will be born, repopulating the earth.Ā 

From The Lay of Vafthrudnir,45, Gylfaginning, The Prose Edda

‘In the place called Hoddmmimr’s Wood, two people will have hidden themselves from Surt’s fire. Called Lif [Life] and Leifthrasir [Life Yearner], they have morning dew for their food. From these will come so many descendents that the whole world will be inhabited. So it says here:

‘Lif and Leifthrasir

will hide themselves

in Hoddmimir’s Holt.

The morning dew

they have for food,

from them springs mankind.’

(Byock: 77-78)

You can find the whole Gylfaginning here

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Jƶrmungandr: World Serpent by James Mackenzie

Jƶrmungandr: World Serpent by James Mackenzie for The Nine Realms Project

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2. Thor and the Midgard Serpent

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Jormungandr, the world serpent, lives in the ocean surrounding Midgard. He was so long that his tail circled the entirety of the realm. Ā He is one of the three children of Loki. There are a number of stories attached to the serpent:

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1. Ā Loki’s Challenge

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Where Thor comes across the serpent in the form of a huge cat, disguised in this guise by the magic of Loki. Loki challenges Thor to lift the cat as a test of his might. However, Thor is unable to lift Jörmungandr entirely, but does manage to raise the serpent far enough that it lets go of the ground with one of its four feet.

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Thor and the Midgard Serpent

Thor and the Midgard Serpent

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2. Ā Thor’s Fishing Trip: HookingĀ Jƶrmungandr

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Thor goes fishing with the giant Hymir. However, the giant refuses to give Thor any bait to catch the fish, so Thor cuts the head off Hymir’s ox to use as a lure. Ā They fish for a while, but Thor wants to go further out to sea, despite Hymir’s protestations. Once further out Thor gets a strong line on which he hooks the ox’s head. The World Serpent, ƶrmungandr, is hooked and pulled onto their fishing boat. Thor and the serpent face each other, Ā Jƶrmungandr, dripping venom and blood. Thor grabs his hammer to kill the serpent, but Hymir cuts the line and the serpent goes free.

For more information see here

See ‘Things of Interest’ below re: The Gosforth Cross

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MÔni and Sól

MÔni and Sól

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4. Ā Mundilfari, and the Sun and the Moon

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Mundilfari is the father of Sól , goddess of the sun, and MÔni, the son,  named after the moon. Mention of them can be found in The Poetic Edda in the VafþrúðnismÔl stanza 23 and in The Prose Edda (chapter 11, Gylfaginning).

SólĀ married a man,Ā Glenr (‘Opening in the clouds’, responsible for driving the horses across the sky), which angered Odin. Therefore the gods, in retaliation, grabbed bothĀ Sól and MĆ”niĀ from Mundilfari, and placed them in the sky to guide the sun and the moon and the constellations (created by the sons of Bor). TheĀ world was lit from the sparks from Muspelheim.

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Themes, Relevance and Questions

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Stasis and Visibility

It is interesting that Ā Midgard, the realm of the people, is seen to be the realm that is seen; maybe meant to be seen. It is the place of destruction and the place of rebirth, which to all intents and purposes could be Ā considered a replication of the fluctuation of all living things. It is powerful that this profound dynamic is embodied within the realm of the people. of man. As if the beginning and the end is rooted in man and how humankind overcome adversity through reformation. A Norse retelling of Eliot’s ‘the end is my beginning’ perhaps?Ā 

Exploration Point:Ā  What is the relationship between humans and the gods in The Prose and Poetic Eddas? What is the dynamic and how is it manifested?Ā 

 

Things of Interest:

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1. Ā Snorri Struluson

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Born 1179, Hvammur, Iceland—died Sept. 22, 1241, Reykjaholt, Icelandic poet, historian, and chieftain, author of The Prose Edda and the Heimskringla.

The HeimskringlaĀ isĀ a history of the Norwegian kings that begins with the Ynglinga saga and moves through to early medieval Scandinavian history.

See more here.

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2. The Gosforth Cross

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Gosforth Cross World Serpent

 

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The Gosforth Cross is a large stone Anglo-Saxon cross in St Mary’s churchyard at Gosforth in the county of Cumbria, UK. The area was settled by Scandinavians some time in either the 9th or 10th century and was previouslyĀ part of the kingdom of Northumbria. The cross itself dates to the first half of the 10th century.

For more details see here.

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3. Icelandic Alphabet

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Ā You can see more ‘Icelandic Lessons’ here

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Ā Optional Poetry and Writing Prompts:

Clerihew

Consists of two rhyming couplets which attempt to encapsulate the life and works of a character or famous figure. Ā As Vole Cental puts it:

‘Exaggeration, wilful misunderstanding, and even complete fabrication or character assassination, are permitted, and perhaps encouraged. The first line is always the person’s name. ‘

This might work well with a Norse character.

See here for more details.

Writing Word Prompts:Ā  Striding, Killed, Wane, Edge, blood, licked, sky, hostility, ice, path, raised

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To confirm,Ā the deadline for all writing, poetry and mp3s for the Midgard realm is Friday 5th JuneĀ 2015.

Ā .

Ā Thank you so much for your interest.

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References

Ā Allan, T (2010) Vikings, The Battle at the End of Time, London: Watkins Publishing

Crossley-Holland, K (1993) The Penguin Book of Norse Myths: Gods of the Vikings, London, Penguin Books

Ellis Davidson, H.R. (1990) Gods and Myths of Northern Europe, Penguin Books

Hollander, L.M. (1996) tr. The Poetic Edda, Austin: University of Texas Press

Larrington, C. (1996) tr. The Poetic Edda, Oxford University Press

Sturluson, S. (2005) The Prose Edda, Penguin Classics, tr. Jesse L. Byock

Realm 7: Muspelheim – Overview and writing prompts, The Nine Realms, an ArtiPeeps Combined Arts Collaboration 2014-2015

14 Apr

nine realms8

The Nine Realms

9 months, 19 poets and writers, 23 Artists, 3 composers, 1 Viking boat

Ā a magical reworking of Norse Mythology for contemporary audiences

Muspelheim

(the realm of fire)

 

Vikings Ahoy!

Here we are in the middle of April, Ā with the deadline for the poetry and writing for the 6th realm Helheim Thursday 16th April.Ā I shall be posting out the remaining Nifelheim poems this week and then Helheim the week after. Ā This month we are outlining the realm of Muspelheim. The deadline for all writing, poetry and mp3s for this realm is Monday 11th May.

These monthly posts will draw from a range of primary and secondary source materials and focus on selected gods, themes and stories that circle around the highlighted realm. They will not attempt to cover everything, and writers can embrace any other stories and characters within their writing which is not covered. Month by month we will be building our own magical, contemporary norse world whilst exploring the themes of POWER, NATURE and RELIGION. The project’s overall intention is to embrace orality, translation, storytelling and rhythm all of which are inspired by the origins of the oral tradition of the Norse Sagas.

I may well put out little mini-posts intermittently focusing on orality and poetic form as necessary. Ā 

What is presented below is designed to inspire, present basic information and offer a starting point for individual creativity within the project inspired by the themes, characters and spirit of the myths and stories.

.

Surtr

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1. A brief Ā Overview of Muspelheim

Mentions of Muspelheim and Surt/Surtr are sparing within The Poetic Edda and The Prose Edda, and primarily, it seems, centred around Ragnarök

Muspelheim was to the North of Ginnungagup, the large chasm at the beginning of the world, where Surt/Surtr, ‘the swarthy one’, the fire god, stands guard with a flaming sword. It is where the Gods, as the world was created, scattered sparks across the sky as stars (Allan: 34). Muspelheim is fire; and the land to the North,Ā Niflheim, is ice. The two mixed and created water from the melting ice in Ginnungagap. The sun and the stars originate from Muspelheim.Ā The residents of Muspelheim are known asĀ  the eldjƶtnar (“Fire Giants“). They are also known Ā by other names in Eddic poetry, such as the MĆŗspellssynir (or MĆŗspellsmegir — “sons of Muspell”) and the RjĆŗfendr (from rjĆŗfa — “to break, tear asunder”, Destroyers of Doomsday). SeeĀ http://en.wikipedia.org/wiki/Muspelheim

In The Prose Edda,Ā In chapter 4, Ā theĀ Ā Gylfaginning, the enthroned figure of Third tells Gangleri (described as King Gylfi in disguise) that the flaming region existed prior to Niflheim, and is impassable to those who are not born to the realm. To protect Muspelheim Surt/Surtr is stationed at its frontier.

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Ā 2. Surt

220px-Surtur_mit_dem_Flammenschwerte

Surt with flaming sword

 

Surt/Surtr plays a major role in the tra.jectory towards Ragnarƶk, through hisĀ battles against the Ɔsir, Ā fighting particularly with Ā Freyr. The fire that Surt engenders engulfs the Earth in its final moments of existence (before it is reborn).

NorseĀ AcademicĀ Simek says that “in Iceland Surtr was obviously thought of as being a mighty giant who ruled the powers of the (volcanic) fire of the Underworld”,

Surt/Surtr is mentioned twice in the The Prose Edda particularly the VöluspÔ, where a völva (a Seer) states that Surt/Surtr will come from the south with flames, carrying a  bright sword:

Ā 

Sutr ferr sunnan
meư sviga lƦvi:
skinn af sverưi
sól valtiva.
Ā 

Surtr moves from the south
with the scathe of branches:
there shines from his sword
the sun of Gods of the Slain.Ā 
Dronke (1997:21).

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There are few details given about the fight between Surt/Surtr and Freyr in theĀ VƶluspĆ” .The poem focuses more on how Odin is to be killed by the wolf Fenrir. Ā However, it is mentioned that Surtr will go to battle against “Beli’s bane”, a kenning for the god Freyr, who slew the giant Beli.

You can find the whole VöluspÔ  here

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3.   Ragnarök  and Surt/Surtr

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According to the Ragnarök predictions in the Gylfaginning, the sons of Muspell , the fire giants, will break the Bifröst bridge, signalling the end of times:

In the midst of this clash and din the heavens are rent in twain, and the sons of Muspell come riding through the opening. Surtr rides first, and before him and after him flames burning fire. He has a very good sword, which shines brighter than the sun. As they ride over Bifrost it breaks to pieces, as has before been stated. The sons of Muspel direct their course to the plain which is called Vigrid…. The sons of Muspel have there effulgent bands alone by themselves.

You can find the whole of the Gylfaginning here

The story goes that Surt/Surtr Ā will come via land Ā and ride over Bifrost, the rainbow bridge, to Asgard. Here the armies of the gods and giants will meet for one last battle. It is where Surt/Surtr remains until the end, Ā and once Heimdallr and Loki fight ( killing one another), Surt/Surtr flings fire over the world so that both men and gods will perish in an overwhelming sea (Ellis Davison: 38).

The sun becomes dark. Earth sinks in the sea.

The shining stars slip out of the sky.

Vapour and fire rage fiercely together,

till the leaping flame licks heaven itself

(ibid)

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4. Sinmara

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Sinmara by Jenny Nystrom

Sinmara by Jenny Nystrom

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Is a female who is often considered to be a companion of Surt/Surtr. A mention of her can be found inĀ the poem FjƶlsvinnsmĆ”lĀ (The Sayings of Ā Fjƶlsvinnr)Ā where she is said to have a weapon calledĀ LƦvateinnĀ which is considered a kenning for a sword, ‘damage tree’. Her name, mara, may be linked to”(night-) mare”, and the two figures together can be seen as quite a powerful combination.

Here is a section from FjölsvinnsmÔl: 

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Benjamin Thorpe’s translation:
26. Tell me, Fiƶlsvith! etc.
whether there be any weapon,
before which Vidofnir may
fall to Hel“s abode?
27. HƦvatein the twig is named,
and Lopt plucked it,
down by the gate of Death.
In an iron chest it lies
with Sinmoera,
and is with nine strong locks secured.
Henry Adams Bellows translation:
41. Svipdag spake:
“Now answer me, Fjolsvith, the question I ask,
For now the truth would I know:
What weapon can send Vithofnir to seek
The house of Hel below?”
42. Fjolsvith spake:
“LƦvatein is there, that Lopt with runes
Once made by the doors of death;
In LƦgjarn’s chest by Sinmora lies it,
And nine locks fasten it firm.”
Ā 

See: Ā http://en.wikipedia.org/wiki/Sinmara

.

Themes, Relevance and Questions:

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Life, Ā Death, heat and renewal:Ā 

Interestingly, many connections have been made between Ragnarök and Christian Notions of Judgement Day. Fire and burning have played a large part in many religious ceremonies and rites for 100s of years.  A cycling of conflict, punishment and then renewal. Fire keeps us warm, but equally fire is volatile and chaotic if untamed. Surt/Surtr and Muspelheim could be seen as a symbol for that volatility,  and when they reach Asgard- might meets might!

There is something very intense and dynamic about heat, about flames. There can be warmth and comfort, but if fire gets out of control there can equally be searing, skin burning, pain. Surt/Surtr and fire are what we have at the end of the world just before the new world begins. Ā The new world begins not with ease, but through a clash of force, devastation and power.

Ā Exploration Point:Ā Take a look through The Prose and Poetic Eddas and track how fire is used within the stories. Are there any patterns? What symbolism does it have?Ā 

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Things of Interest:

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1. Ā The Road To Asgard: BiFrost:

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Ā 2. Ā Three videos about Jesse Byock’s (the translator of the Penguin Classic edition of The Prose Edda) multi-disciplinary research which combines the sagas, history and archaeology

Part 1

Part 2

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Part 3

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Optional Poetry and Writing Prompts:

Gerard Manley Hopkins

Gerard Manley Hopkins

Curtal Sonnet

Established by Gerard Manley Hopkins, and is a ten-and-a-half line form, Ā a sonnet but three-quarters the size. Hopkins’ poem Pied Beauty is an example.

The rhyming scheme is abcabcdbcdc or abcabcdcbdc.

See here for more details.

Writing Word Prompts:Ā  Tormentors, Unfinished, Moment, Burst, Climb, Universal, Ā Destiny, Helmet, Hearts

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To confirm,Ā the deadline for all writing, poetry and mp3s for the Muspelheim realm is Monday 11th MayĀ 2015.

Ā .

Ā Thank you so much for your interest.

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References

Ā Allan, T (2010) Vikings, The Battle at the End of Time, London: Watkins Publishing

Crossley-Holland, K (1993) The Penguin Book of Norse Myths: Gods of the Vikings, London, Penguin Books

Dronke, Ursula (Trans.) (1997). The Poetic Edda: Volume II: Mythological Poems. Oxford University Press.

Ellis Davidson, H.R. (1990) Gods and Myths of Northern Europe, Penguin Books

Hollander, L.M. (1996) tr. The Poetic Edda, Austin: University of Texas Press

Larrington, C. (1996) tr. The Poetic Edda, Oxford University Press

Simek, Rudolf (2007)Ā Dictionary of Northern Mythology,Translated by Angela Hall. D.S. Brewer

Sturluson, S. (2005) The Prose Edda, Penguin Classics, tr. Jesse L. Byock

Realm 6: Helheim – Overview and writing prompts, The Nine Realms, an ArtiPeeps Combined Arts Collaboration 2014-2015

12 Mar

nine realms8

The Nine Realms

9 months, 22 poets and writers, 22 Artists, 3 composers, 1 Viking boat= a magical reworking of Norse Mythology for contemporary audiences

Helheim

(the realm through which Ā men pass in order to die in Nifelheim)

 

Vikings Ahoy!

Here we are in the middle of March, Ā with the deadline for the poetry and writing for the 6th realm Nifelheim today!Ā I shall be posting out more Nidavellir poems this week and next week, and then we’ll be onto the Nifelheim poems.Ā This month we are outlining the realm of Helheim. The deadline for all writing, poetry and mp3s for this realm is Thursday 16th April 2015.

These monthly posts will draw from a range of primary and secondary source materials and focus on selected gods, themes and stories that circle around the highlighted realm. They will not attempt to cover everything, and writers can embrace any other stories and characters within their writing which is not covered. Month by month we will be building our own magical, contemporary norse world whilst exploring the themes of POWER, NATURE and RELIGION. The project’s overall intention is to embrace orality, translation, storytelling and rhythm all of which are inspired by the origins of the oral tradition of the Norse Sagas.

I may well put out little mini-posts intermittently focusing on orality and poetic form as necessary. Ā 

What is presented below is designed to inspire, present basic information and offer a starting point for individual creativity within the project inspired by the themes, characters and spirit of the myths and stories.

Helheim

Ā .

1. A brief Ā Overview of Helheim

Ā 

Helheim is the lowest realm of all ruled by Hel (see Nifelheim overview). In GrímnismÔl stanza 31, Hel is listed as existing beneath one of three roots of the world tree Yggdrasil. One of the other two roots leads to the frost jötnar and the third to Mankind. In the poem VöluspÔ in The Poetic Edda a völva (sybil)  states that Hel will play an important role in Ragnarök. As mentioned in the Nifelheim overview there is some greyness in terms of differentiation between Nifelheim and Helheim, but in the VafþrúðnismÔl (the third poem in The Poetic Edda)  states that it is the place that evil men pass through to die again in Nifelheim.

It is also  the place where all men, who were not warriors and did not end up in Valhalla (the feasting hall of the dead), were decreed to go and condemned to a grim death by Hel. The myths connected to Hel and Helheim spread into cultural traditions, and loved people were buried near to their homes to keep a connection, and those who were cruel were buried far away. Their families fearing they might become the walking dead. In relation to the life/death dynamic there is even some evidence that some thinkers believed there was no life after death. In the HÔvamÔl, for instance it states:

Wealth dies, kinsmen die, a man must like-wise die: but fame never dies, for him who achieves it well (Allan: 135)

You can find the full HÔvamÔl text here

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1. Odin’s Consultation with the Vƶlva

Baldr’s draumarĀ Ā is anotherĀ Eddic poemĀ from within The Poetic Edda which tells the story ofĀ Odin’s ride to Hel investigating Baldr’s nightmares.Ā (Baldr is the son of Odin and Frigg and is married to NannaĀ with aĀ Ā child Forseti. Ā Baldr is responsible for the construction of the most wonderful ship known to man called the Hringhorni. Ā  You can find out more about Baldr in the Nidavellir overview. )

The story goes that Odin, travels to Hel to find the grave of aĀ VƶlvaĀ (sybil)Ā so that he can resurrect her and questions her about Baldr’s future. She reveals Baldr’s fate: that Hƶưr (his brother) will kill him, but Vali Ā (one of his other brothers) will avenge him.

Apart from this description Baldr is known primarily for the story of his death. His death is seen as the first in the chain of events which will ultimately lead to the destruction of the gods at Ragnarƶk. Baldr will be reborn in the new world, according to VƶluspƔ.

In Gylfaginning, Baldur is described as follows:

Annar sonur Ɠưins er Baldur, og er frĆ” honum gott aư segja. Hann er svĆ” fagr Ć”litum ok bjartr svĆ” at lýsir af honum, ok eitt gras er svĆ” hvĆ­tt at jafnat er til Baldrs brĆ”r. ƞat er allra grasa hvĆ­tast, ok þar eptir mĆ”ttu marka fegrư hans bƦưi Ć” hĆ”r og Ć” lĆ­ki. Hann er vitrastr Ć”sa ok fegrst talaưr ok lĆ­knsamastr. En sĆŗ nĆ”ttĆŗra fylgir honum at engi mĆ” haldask dómr hans. Hann býr þar sem heita Breiưablik, þat er Ć” himni. ƍ þeim staư mĆ” ekki vera óhreint
The second son of Odin is Baldur, and good things are to be said of him. He is best, and all praise him; he is so fair of feature, and so bright, that light shines from him. A certain herb is so white that it is likened to Baldr’s brow; of all grasses it is whitest, and by it thou mayest judge his fairness, both in hair and in body. He is the wisest of the Ɔsir, and the fairest-spoken and most gracious; and that quality attends him, that none may gainsay his judgments. He dwells in the place called Breidablik, which is in heaven; in that place may nothing unclean be
Ā Brodeur’s translation

In Baldrs Draumar, the sybil replies:

Here stands brewed the mead for Balder,

shining cups with shields for cover,

but the Sons of the Gods must suffer anguish….

(Ellis Davison: 185)

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You can find the whole of the Gylfaginning here

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Odin's Last words to Baldr

Odin’s Last words to Baldr

 

2. Odin’s Ride to Ransom Baldr

Baldr dies (seeĀ Nidavellir overview. ) Ā and Frigg once again asks Odin to go to Helheim and entreat Hel to let him come back.Ā He travels through ice and wind, crossing Ā the Gjoll torrent (which separates the living from the dead) via a golden- roofed bridge.Ā Hel agrees that Baldr can come back only if everyone and everything agrees to weep for him. All things do weep for him: trees, stones, animals all except Thokk/Ā ĆžĆ¶kkĀ (who is thought to be Loki in disguise) ensuring that Baldr cannot return. In so doingĀ Baldr has to remain in Hel; not to be released until after Ragnarƶk. Baldr and Hƶưr would then be reconciled and rule the new earth together with Thor’s sons.

 

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4. Ragnarök and Helheim

As Ragnarök unfolds an axe age, a sword age, a wind age and a wolf age reek havoc over the world.  Midgard is ridden with wars for three winters and fathers kill sons. A most ferocious  winter (Fimbulvetr)  covers Midgard. Three winters in succession will manifest with no summers in between.  The children of the giantess in the Iron Wood declaim themselves and the wolf Sköll  swallows the sun whole in his jaws, splattering Asgard with blood. His brother Hati  mangles the moon within his mouth, and the stars disappear.

The earth begins to shudder, mountains shake, and rocks roll, and Fenrir runs free.  Eggther, the watchman of the giants,  strums his harp. A red cock called Fjalar crows waking the warriors in Vallhala every day. A golden-combed cock crows to the gods, and a  red rust cock raises the dead in  Hel. The Midgard serpent writhes in anger, and high seas come in. Loki, free from his fetters sails the high seas towards Vigrid from the North with a deathly crew from Hel. The world is in uproar, and the Yggdrasil Tree trembles , and the gods take arms within Valhalla and March toward Vigrid/Vígríðr, (a large field which hosted a battle between the gods and the forces of Surt).

Odin rides upfront, and in the end Fenrir Ā swallows Odin and he dies. Ā Vidar/Vƭưarr (Odin’s son) kills Fenrir in return. Surt lets flames fly and Asgard, Midgard, Jotunheim and Nifelheim become furnaces burning to ashes. The nine realms burn and the gods die, men and women die, and elves and dwarves, monsters and animals die. The earth sinks into the sea.

BUT out of the dying earth a new one is born out of Ā ‘water, fair and green’. Ā (Crossley-Holland: 173-175).

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Themes, Relevance and Questions:

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Life, Ā Death and Transition: It could be said that Nifelheim and Helheim in combination represent a very powerful symbol of transition (from life to death and vice versa). Viewed in conjunction with Ragnarƶk,Ā this makes for a very strong articulation of the force of life and rebirth. Ā  Where through a conflict and a realignment of moralities life comes forth again ‘fair and green’, with dark forces in hand once again.

Through the creation of the figure of Hel we can see a centre and symbol of moral judgement has been created: Ā one that allows us to question what is right or wrong, and who is condemned and who is not ( exactly as Hel does). The sifting through that Hel undertakes as men pass through Nifelheim Ā (judging their morality and position in life) could be seen as a parallel to the sorts of judgements Ā many people and leaders and figures in power make today. To look at the role of transition and rebirth within the realms of Helheim and Nifelheim , I think can well serve anybody wishing to understand the nature of moral judgement and freedom.

Ā Exploration Point:Ā What transitions of power can you see in play within these realms and their stories, and how could they be used to reflect upon modern contemporary life?Ā 

 

Things of Interest:

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1. Ā The Relevance of Norse MythsĀ in theĀ SchoolĀ Curriculum:

http://www.telegraph.co.uk/culture/books/10622293/Get-your-fill-of-Norse-myths-before-Hel-freezes-over.html

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Ā 2. Ā Filmpoem: Sonatorrek (Loss of Sons)

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A filmpoem byĀ Alastair CookĀ of John Glenday’s ā€˜The Lost Boy’, a poem after Egill SkallagrĆ­msson’s SonatorrekĀ *.

http://www.asnc.cam.ac.uk/resources/mpvp/?author=2

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* Egill SkallagrĆ­msson/Ā Egil Skallagrimsson(c. 904 – c. 995)Ā was a Viking-Age poet, warrior and farmer.

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Egil Skallagrimsson

Egil Skallagrimsson

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3. ‘In Old Norse mythology, poetry is a slippery substance….’Ā 

http://www.asnc.cam.ac.uk/resources/mpvp/wp-content/uploads/2013/02/An-Anthology-of-Responses-to-Skaldic-Poetry.pdf

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4. Sculptor: Ā Asmunder Sveinsson

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Who was born in 1893, and drew inspiration from The Prose Edda for some of his work.

See:

http://en.wikipedia.org/wiki/%C3%81smundur_Sveinsson

Reykjavik Art Museum, of which one part is dedicated to Sveinsson

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Ā Optional Poetry and Writing Prompts:

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Rubai

The rubai (plural rubaiyat) is a Persian verse form. Each rubai stanza is a quatrain, in which lines 1, 2 and 4 all rhyme.

See here for more details.

Writing Word Prompts:Ā  Light, Thousand, Knowledge, Capital, Fingers, Stars, Deep, Hate, Forest, Broken

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To confirm,Ā the deadline for all writing, poetry and mp3s for the Helheim realm is ThursdayĀ 16th April 2015.

Ā .

Ā Thank you so much for your interest.

.

References

Ā Allan, T (2010) Vikings, The Battle at the End of Time, London: Watkins Publishing

Crossley-Holland, K (1993) The Penguin Book of Norse Myths: Gods of the Vikings, London, Penguin Books

Ellis Davidson, H.R. (1990) Gods and Myths of Northern Europe, Penguin Books

Hollander, L.M. (1996) tr. The Poetic Edda, Austin: University of Texas Press

Larrington, C. (1996) tr. The Poetic Edda, Oxford University Press

Sturluson, S. (2005) The Prose Edda, Penguin Classics, tr. Jesse L. Byock

Realm 5: Niflheim – Overview and writing prompts, The Nine Realms, an ArtiPeeps Combined Arts Collaboration 2014-2015

12 Feb

nine realms8

The Nine Realms

9 months, 19 poets and writers, 22 Artists, 3 composers, 1 Viking boatĀ = a magical reworking of Norse Mythology for contemporary audiences

Nifelheim

(the realm of the dead)

 

Vikings Ahoy!

Here we are in the middle of February, Ā with the deadline for the poetry and writing for the 4th realm Nidavellir today!Ā I shall be posting out moreĀ Jotunheim poems this week and next week, and then we’ll be onto Nidavellir.Ā This month we are outlining the realm of Niflheim,Ā and the deadline for all writing, poetry and mp3s for this realm is ThursdayĀ 12th March 2015.

These monthly posts will draw from a range of primary and secondary source materials and focus on selected gods, themes and stories that circle around the highlighted realm. They will not attempt to cover everything, and writers can embrace any other stories and characters within their writing which is not covered. Month by month we will be building our own magical, contemporary norse world whilst exploring the themes of POWER, NATURE and RELIGION. The project’s overall intention is to embrace orality, translation, storytelling and rhythm all of which are inspired by the origins of the oral tradition of the Norse Sagas.

I may well put out little mini-posts intermittently focusing on orality and poetic form as necessary. Ā 

What is presented below is designed to inspire, present basic information and offer a starting point for individual creativity within the project inspired by the themes, characters and spirit of the myths and stories.

Ā .

1. A brief Ā Overview of Niflheim

Ā Niflheim means ‘Mist World’ and lies to the North of Ginnnungagap, the huge void Ā from which the world grew. It originally had 9 frozen rivers attached to it and was filled with ice, frost and snow. The rivers bubbled up from a cauldron called HvergelmirĀ and theirĀ Ā waters flowed into Ginnungagap.

In the guise of three men Odin gives a lesson in norse mythology toĀ Gylfi (the earliest recorded king of Scandinavia).Ā 

It was many ages before the earth was shaped that the Mist-World [Niflheimr] was made; and midmost within it lies the well that is called Hvergelmir, from which spring the rivers called Svƶl, GunnthrƔ, Fjƶrm, Fimbulthul, Slƭdr and Hrƭd, Sylgr and Ylgr, Vƭd, Leiptr; Gjƶll is hard by Hel-gates.

The Prose Edda, Section III of Gylfaginning, in translation by Arthur Gilchrist Brodeur (1916), p. 16.

Niflheim was said to be a nine day ride northwards and downwards from Midgard. At its centre was a towering place called Hel, whose gates were protected by a female of the same name. She is described in a variety of ways (pending on the source): as a half black-half-white she-monster and as a half living flesh and half rotting cadaver.Ā There is also a distinction between Helheim and Niflheim: Ā men pass through Hel to die in Niflheim (Crossley-Holland: xxi).

Niflheim is also mentioned as the final  destination of the jötunn who was killed by Thor after he had built Asgard:

Now that the Ɔsir saw surely that the hill-giant was come thither, they did not regard their oaths reverently, but called on Thor, who came as quickly. And straight away the hammer Mjƶllnir was raised aloft; he paid the wright’s wage, and not with the sun and the moon. Nay, he even denied him dwelling in Jƶtunheim, and struck but the one first blow, so that his skull was burst into small crumbs, and sent him down below under Niflhel [Niflheim].

The Prose Edda, Section XXXIV of Gylfaginning, in translation by Brodeur (1916), p. 55.

Rather than staying in Nifelheim the dead could also pass on to Nastrond/NÔströnd* (the strand of corpses), where men must wade in poisoned streams before being cast into the Hvergelmir (cauldron) to feed Nidhogg the dragon. These ideas have affected Christian notions of fate and wickedness (Allan: 133).

*See Things of Interest below

Two other sorts of beings were said to come from Nifelheim theĀ HrĆ­mthursar, known as the Frost Giants (or Rime-Giants) and the Niflungar (“children of the mist”), a group of people who were treasure-seekers and hoarders. They are also known as Ā theĀ Nibelungs.

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Gylfi and Odin

Gylfi and Odin

 

2. Gylfi’s Education:

GylfiĀ  meets ‘The Mysterious Three’ men mentioned above in Asgard, where, in search of wisdom, he questions them. Ā Each of the three men sit on a throne and guard the gates of Valhalla. The three are known as: Ā Jafnharr (Equally High), Harr (High) and Thridi (Third). He is unaware that the three are in effect incarnations of Odin. Ā 

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a. Ice and Flames:

Odin (disguised as Thridi/ƞriưi) Ā tells Gylfi that Ymir was formed when the ice from Niflheim (Niflheimr) coalesced with the flames from Muspelheim (Muspelheimr), and thus began the creation of the world:

Just as cold arose out of Niflheim, and all terrible things, so also all that looked toward MĆŗspelheim became hot and glowing; but Ginnungagap was as mild as windless air, and when the breath of heat met the rime, so that it melted and dripped, life was quickened from the yeast-drops, by the power of that which sent the heat, and became a man’s form. And that man is named Ymir, but the Rime-Giants call him Aurgelmir; […]

Ā The Prose Edda, Section VII of Gylfaginning, in translation by Brodeur (1916), p. 17.

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b. The Second Root:

Talking of the world tree Yggdrasill, JafnhÔrr (Odin) tells Gylfi that Jotunheim (Jötunheimr) is located under the second root, where Ginnungagap once was:

The Ash is greatest of all trees and best: its limbs spread out over all the world and stand above heaven. Three roots of the tree uphold it and stand exceeding broad: one is among the Ɔsir; another among the Rime-Giants, in that place where aforetime was the Yawning Void; the third stands over Niflheim, and under that root is Hvergelmir, and NĆ­dhƶggr gnaws the root from below.

The Prose Edda, Section XV of Gylfaginning, in translation by Brodeur (1916), p. 27.

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Ā .

c. The Story of Hel and Loki:

Gylfi is then told the story of how Loki had createdĀ HelĀ via his relationship with giantess AngerbodaĀ (‘she who offers sorrow’). Hel was the third daughter of this partnership and was sister to Fenrir (the eldest) and Jormungand (the second child, and a huge serpent). Ā Hel’s looks and grim demeanour were particularly disturbing to the Asgard gods. When the gods then heardĀ thatĀ Loki had fathered these children, they felt that the three should best be captured. A group of gods gathered and went to Jotunheim to capture the siblings. They tied up Angerboda and took Hel to be cast into Niflheim by OdinĀ (Crossley-Holland: 33). :

Hel he cast into Niflheim, and gave to her power over nine worlds, to apportion all abodes among those that were sent to her: that is, men dead of sickness or of old age. She has great possessions there; her walls are exceeding high and her gates great.

The Prose Edda, Section III of Gylfaginning, in translation by Arthur Gilchrist Brodeur (1916), p. 16.

In this way, Ā Hel became the mistress of the world of the dead including Ā all those in the nine realms who died of disease and old age. Ā Odin stipulated that she had to share out all her food with whoever came to her. Ā 

You can find the entire version of the Gylfaginning here.

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3. Hrimthursar/hrímþursar

or Frost Giants

When Ymir was formed out of the primeval chaos of GinnungagapĀ a procreative sequence was instigated: out of Ymir’s armpits grew his son and daughter, and his two feet gave birth to another son (a six headed monster). Ymir’s son and daughter and the six headed monster created what is known as theĀ Hrimthursar (the name given to the frost giants who populated Niflheim). Ā The gods, however, debated this latter scenario, saying that the Hrimthursar’s origins stem from Buri (the grandfather of Odin. Vili and Ve) instead. The story goes that when Ā Odin killed Ymir, all his blood/water flooded Niflheim and killed all the frost giants (jƶtnar). Ā Nearly all the giants were killed barring one: the giantĀ Bergelmir and his wife. Together they repopulated the earth:

From Ymir’s flesh the earth was formed, and the rocks from out of his bones; the sky from the skull of the ice-cold giant, and the sea from his blood.

Orchard, translated by Andrew (2010). “VafthrĆŗdnismĆ”l”. The poetry of the Elder Edda. London: Penguin Classics

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Themes, Relevance and Questions:

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Morality, Wickedness, Religion: In the creation of Hel we can almost see embodied in her a metaphor for moral choice: who is bad and who is good. She has the power to cast men into to Nifelheim, or into to NÔströnd or to stay in Hel. She is one of the main figures (along with the Aesir and Vanir gods) in norse mythology who controls morality. The idea of moral rectitude and fate is put in place here. The themes of which you can also see flowed into Christian doctrines (Allan: 133).

Ā Exploration Point:Ā What type of morality is shown within the Eddas? How is the harsh, dark morality balanced? Through nature? Through mysticism? Through play within language?

 

Things of Interest:

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1. Arthur Gilchrist Brodeur Ā (1881-1971.Ā author of the Ā famous 1916 edition of The Prose Edda):

 

Arthur Gilchrist Brodeur 1916 ed

Arthur Gilchrist Brodeur 1916 ed

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Brodeur, born in Franklyn Massachusetts, USA, was given the Royal Order of Vasa for his services to Scandinavian culture from the government of Sweden. He was also forward-thinking in terms of his politics. Ā He was one of three members of the Berekely Communist Faculty Group. Ā Brodeur also initially refused to sign the loyalty oath as required by the state in 1949. He ultimately did decide to sign and continue the fight from within.

W. E. Farnham and A. E. Hutson, Arthur Gilchrist Brodeur, English; German: Berkeley: 1888-1971: Professor of English and Germanic Philology, at Calisphere, University of California Libraries, retrieved February 22, 2012

You can read more about him here:

http://en.wikipedia.org/wiki/Arthur_Gilchrist_Brodeur

http://pulpflakes.blogspot.co.uk/2012/07/arthur-gilchrist-brodeur-professor-pulp.html

 

2.  NÔströnd

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Click to enlarge the images

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NÔströnd (shore of the corpses) is a place in Hel where Níðhöggr the dragon resides eating the corpses and sucking their blood. It is the place where those guilty of murder, adultery and oath-breaking (which the Norse considered the most terrible of crimes) go. Within the shores stood a castle filled with serpents. 

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From the  VöluspÔ  in The Poetic Edda:

Sal sÔ hón standa
sólo fiarri,
NÔstrǫndu Ô,
norưr horfa dyrr.
Fello eitrdropar
inn um lióra.
SĆ” er undinn salr
orma hryggiom.
SÔ hón þar vaða
þunga strauma
menn meinsvara
ok morưvarga
ok þannz annars glepr
eyrarĆŗno.
ƞar saug NƭưhĒ«ggr
nƔi framgengna,
sleit vargr vera.
Vitoư Ʃr enn, eưa hvat?

VƶluspĆ” 38-39, Dronke‘s edition
A hall she saw standing
remote from the sun
on Dead Body Shore.
Its door looks north.
There fell drops of venom
in through the roof vent.
That hall is woven
of serpents’ spines.
She saw there wading
onerous streams
men perjured
and wolfish murderers
and the one who seduces
another’s close-trusted wife.
There Malice Striker sucked
corpses of the dead,
the wolf tore men.
Do you still seek to know? And what?

VƶluspĆ” 38-39, Dronke’s translation

 

http://en.wikipedia.org/wiki/N%C3%A1str%C3%B6nd

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3. The Nine Worlds of the Ygdrassil:

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4. The three children of Loki:

A brief overview:

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Ā Optional Poetry and Writing Prompts:

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Epistle

Epistolary poems come from the Latin ā€œepistulaā€ for ā€œletter,” and are poems that literally read as letters. They directly address a subject matter or person. They can be intimate, colloquial or formal and measured.

See here for more details.

Writing Word Prompts:Ā  Blood, Insignificance, Guilt, Serpents, Ice, Fear, Judgement, Brittle

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To confirm,Ā the deadline for all writing, poetry and mp3s for the Nifelheim realm is ThursdayĀ 12th March 2015.

Ā .

Ā Thank you so much for your interest.

.

References

Ā Allan, T (2010) Vikings, The Battle at the End of Time, London: Watkins Publishing

Crossley-Holland, K (1993) The Penguin Book of Norse Myths: Gods of the Vikings, London, Penguin Books

Ellis Davidson, H.R. (1990) Gods and Myths of Northern Europe, Penguin Books

Hollander, L.M. (1996) tr. The Poetic Edda, Austin: University of Texas Press

Larrington, C. (1996) tr. The Poetic Edda, Oxford University Press

Sturluson, S. (2005) The Prose Edda, Penguin Classics, tr. Jesse L. Byock

Vikings Ahoy! : Here’s The Nine Realms Collaboration Logo

10 Feb

Our logo for our The Nine Realms project has finally been designed and completed by illustrator and graphic designer Gary Caldwell. Ā 

Here it is:

nine realms8

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The logo is based on the Yggasdril Tree which is central to Norse Mythology and their myths of cosmology. All the nine realms come off the tree. The realms are represented by the different coloured balls within the tree (including the main one). This logo will be used on all our promotional material.

We have decided to call the event in Hanse House in September an ‘experience’ rather than an exhibition. This is for 3 reasons: 1. because of the high levels of participation and interaction there will be with attendees and pupils (at our schools’ day); 2. because we want to move attendees away from merely attending to active participation and 3. because we want to take attendees on a the magical journey supported by the realm music, lighting, poetry and art. We want to trigger the senses and the imagination.

I hope you all like it.

Ā Gary has done all our previous logos for Transformations (last year’s large-scale) and Ā our ArtiPeeps logo.Ā Here are the other two logos Gary created for us:

 

Thank you Gary, for designing something so striking and memorable for The Nine Realms.

 

Viking NickyĀ 

 

 

 

 

 

Realm 4: Nidavellir – Overview and writing prompts, The Nine Realms, an ArtiPeeps Combined Arts Collaboration 2015

8 Jan

World Tree Norse

The Nine Realms

9 months, 22 poets and writers, 22 Artists, 3 composers, 1 Viking boat= a magical reworking of Norse Mythology for contemporary audiences

Nidavellir

(the realm of the Dwarves)

 

Vikings Ahoy!

Happy New Year! Here we are at the beginning of January, Ā with the deadline for the poetry and writing for the 3nd realm JotunheimĀ coming up: Monday 12th January. The poetry and writing inspired by the realm Vanaheim will continue to be posted out.Ā This month we are outlining the realm of NidavellirĀ and the deadline for all writing, poetry and mp3s for this realm is ThursdayĀ 12th February 2015.

These monthly posts will draw from a range of primary and secondary source materials and focus on selected gods, themes and stories that circle around the highlighted realm. They will not attempt to cover everything, and writers can embrace any other stories and characters within their writing which is not covered. Month by month we will be building our own magical, contemporary norse world whilst exploring the themes of POWER, NATURE and RELIGION. The project’s overall intention is to embrace orality, translation, storytelling and rhythm all of which are inspired by the origins of the oral tradition of the Norse Sagas.

I may well put out little mini-posts intermittently focusing on orality and poetic form as necessary. Ā 

What is presented below is designed to inspire, present basic information and offer a starting point for individual creativity within the project inspired by the themes, characters and spirit of the myths and stories.

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185px-Nidavellir

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1. A brief Overview of Nidavellir

Ā Nidavellir (Niưavellir)Ā is the realm of the dwarves. Nida means ‘dark’ and vellir means ‘dwelling’, and Ā Hreidmar is the King of the realm. Dwarves are consistently mentioned in the VoluspaĀ poem of Ā The Poetic Edda (see below):

Stóð fyr norðan, / Ô Niðavöllom / salr úr gulli / Sindra ættar

tr: ‘Before you reach the north (Niflheim being the world furthest to the north), A dark dwelling stands (The dwarf world), In halls of gold, Sindri’s bloodline lives’.

There is some confusion as to whether Nidavellir is actually  the realm of the dwarves or the dark elves. They are often confounded, and associated with the realm called Svartalfheim (world of black elves). Snorri Sturlson refers to this in The Prose Edda calling the realm SvartÔlfaheimr. Dark elves or black elves, were  generally conceived as being horrifying and hideous. In later storytelling traditions they became what we know as goblins. The light elves, became equated with the notion of fairies.

You can find the whole of the Voluspa here.

Dwarves are known for their wisdom, and alongside giants have a mortal fear of sunlight, as it turns them into stone. This is well highlighted in the storyĀ Ā The Lay of Alvis (see Story Focus, below). Ā As a consequenceĀ Ā the sun is often called Ā ‘Dvalin’s Delight (after Dvalin the dwarf who came to a similar end as Alvis). See Point 4 below.

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1. The Creation of Dwarves

Having created the world Odin and his brothers then created beings to live in the world. He created the dwarves first. They grew from maggots infesting Ymir’s corpse. The gods gave dwarves a consciousness and then placed them underground so they could search for gold. The dwarves lived alongside trolls who also resided underground.

The dwarves live in darkness, breed in the earth and are often depicted as miners. In stark contrast to the Light Elves who live in Alfheim. They dwell amidst the rocks and hills, and were considered great craftsmen creating gifts for the gods.

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Hreidmar, King of Nidvellir

Hreidmar, King of Nidvellir

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2. Hreidmar (Hreiưmarr)

Hreidmar is the lusty King of the dwarves who captured three gods by using unbreakable chains. He was the father of Fafnir,Ā Ć“trĀ and Regin, andĀ lived in a bejewelled house built for him by Regin. Son, Fafnir guarded the palace on the King’s behalf. The story goes thatĀ Ć“tr was accidentally killed by Loki. Ā The Aesir, in order to make amends for his death, choose to repay him with what is known as ‘Andavari’s Gold’. Andvari was a dwarf who lived underneath a waterfall and had the power to change himself into a fish. The dwarf possessed a magic wealth-making ring calledĀ Andvaranaut. Under duress Loki makes Andvari give up his ring and his gold to him. However, before he leaves Andvari curses the ring. The ring and gold are passed to Hreidmar as repayment for his loss. but out of greed, Fafnir and Regin kill Hreidmar to get the wealth and ring. Fafnir then gets even more greedy and turns himself into a dragon so that he can forcibly drive Regin away through his transformation.

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Thor Kicks Litr. illustration by Emil Doepler (ca. 1905)

Thor Kicks Litr. illustration by Emil Doepler (ca. 1905)

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3. Lit (Litr ) and the Death of Balder/Baldr:

Litr, the dwarf appears in the story of Ā the death of Balder/BaldrĀ (who is the second son of Odin. He is occidentally killed by his brother (Hƶưr)Ā with a magical spear made from Mistletoe created by Loki). Baldr, in the mythology, Ā is seen to be a paragon of graciousness and wisdom. Baldr’s deathĀ is signalled as being one of the many important stories in the sequence of events that lead toĀ Ragnarƶk. Ā Nanna, Balder’s wife, also throws herself symbolically into his funeral pyre. AtĀ Ragnarƶk, Ā Balder will be born into the new world.

Here is the reference to dwarf Lit in The Prose Edda.Ā 

Next Thor stood up and blessed the pyre with Mjolnir. A dwarf named Lit ran in front of his feet. Thor kicked the dwarf with his foot; Ā it landed in the fire and burned to death.

Ā Gylfaginning tr. by Jesse Byock (Penguin Classics, Section 49, p67).

You can also find the story of Baldr outlined in Kevin Crossley Holland’s Penguin Book of Norse Myths, under the title Balder’s Dream (p147).

Frigg thenĀ sends HermodĀ (Hermóðr) to Ā Hel Ā (ruler over Helheim)Ā to try and bargain Baldr’s life back from her. Hel stimpulates that in order for Baldr to be returned all things must weep for him. Trees, animals, metal and stones Ā all cry for him, except a giantess called Thokk (who is said to be Loki in disguise). As Thokk does not give in, Baldr cannot return from Helheim .

You can find the text of the entire Gylfaginning here.

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4. Dvalin, and ‘Dvalin’s Delight’:

 

Dwarf Dvalin alongside his brothers Alfrigg, Berling and GrerrĀ are responsible for the fashioning Ā of the goldenĀ necklaceĀ BrĆ­singamenĀ (belonging to Freyja) which Frigg covets hugely. The only other reference to Dvalin in The Poetic Edda is in connection to ‘Dvalin’s Delight’ (see realm overview 1) where Dvalin gets turned into stone, which is ultimately the fate of dwarf Alviss too (see below).

You can find the reference to Dvalin in the Voluspa of The Poetic Edda (see link above).

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4. Story Focus:

A. The Binding of The Wolf/Fenrir:

Fenrir is a monstrous wolf, who was brought up in Asgard. In order to protect themselves some dwarves forge a chain to hold Fenrir securely. It is made upĀ out of Ā ‘the secret and impalpable things of the world’ (Ellis Davidson: 31):

  • the roots of a mountain
  • the noise of a moving cat
  • the breath of a fish.

It is delicate but is equally very strong, and Fenrir would not allow the chain to be placed on him unless a god’s hand was placed in his mouth as a ransom.Ā Tyr, the only god who dared feed the wolf , managed to bind Fenrir with the chain. In so doing the gods were happy, but Tyr lost a hand in the process.

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B. The Lay of Alvis (Alviss):

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Alviss and Thor

Alviss and Thor

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The AlvíssmÔl ( a poem in The Poetic Edda)  outlines a discussion between a dwarf called Alviss (all-wise) and Thor. The conversation is relayed in a series of kennings which are features of skaldic poetry  (Things of Interest 3. see below). Dwarves were often seen to be centres of knowledge and song, and were known to occasionally pass on their wisdom to the gods.

The story goes that Alviss approaches Thor to ask for his daughter’s hand in marriage, saying that Thor had agreed to this earlier. Thor denies this, but says that Alviss can have his daughter if he answers a set of questions correctly. The dwarf’s answers act as an all-encompassing list of mythological entities ranging from giants to elves:

Himinn heitir meư mƶnnum,
en hlýrnir með goðum,
kalla vindófni vanir,
uppheim jƶtnar,
alfar fagrarƦfr,
dvergar drjĆŗpansal.
—Guưni Jónsson’s normalized text
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‘Heaven’ men call it,
‘The Height’ the gods,
The Wanes ‘The Weaver of Winds’;
Giants ‘The Up-World’,
Elves ‘The Fair-Roof’,
The dwarfs ‘The Dripping Hall’.
—Henry Adam Bellows’ translation
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There are some discrepancies in relation to the naming of the various objects. However, the poet-writer of the  AlvíssmÔl, as Crossley Holland points out (224), does not seem to mind as he is more keen to demonstrate an aspect of poetic technique (skaldic diction) than he is about proving he is 100% correct.  So Alviss fulfils on his task, but is unfortunately turned into stone as the sun rises.

You can find the full AlvíssmÔl  here.

Ā .Ā 

Themes, Relevance and Questions:

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Poetic Form and Language: Many stories in connection with the dwarves seem to draw on either their status as wisdom-givers, or highlight their role as conduits of magic and transformation. However, the dwarf stories are more complex, Ā particularly in the case of The Lay of Alviss whichĀ interestingly, combines this emphasis on magic and play with an overt engagement with poetic form and the flexibility of language/meaning. It is maybe worth thinking about how the Sagas , and the stories therein, blend an engagement and celebration of language with the mythic and the supernatural. What does this say about language, and what does this say about power? Ā 

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Things of Interest:

The Death of Balder:

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2. Ā  The Children of Odin

[Norse Mythology Audiobook] Thor, Loki, Asgard, Valhalla:

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3. Skaldic Poetry and Diction:

‘Skald’ means poet, and makes reference to the poets ‘who composed at the courts of Scandinavian and Icelandic leaders during the Viking Age and Middle Ages. Skaldic poetry forms one of two main groupings of Old Norse poetry, the other being the anonymous Eddic poetry’ (Wikipedia, see next link).

Ā Skaldic poems which consisted of elegies and eulogies (by contemporary poets of the time celebrating their peers) were a huge resource for the myths outlined in The Poetic Edda and other Eddas. Skaldic poetry is delicate, syllabic, alliterative and full of internal rhymes and consonance. Above all skaldic poetry is known for its Ā many ‘kennings, or condensed metaphors that contain part of their diction. Many of the kennings are rooted in myths with which the poem’s original audience were clearly familiar. So for instance, four of the kennings of gold are ‘Freyja’s tears’, ‘Sif’s hair’, ‘Otters ransom’ and ‘Aegir’s fire’.’ (Crossley-Holland: xxxiii). The kennings used by the poets not only make a nod to the myths that endured through the years and but also to those that had not. The kennings chosen by the poets always reflected the oral heritage that goes with them.

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Skaldic Prose Poetry Part 1.

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You can find Part 2 here and Part 3 here.

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4.Ā The Icelandic Sagas: Europe’s most important book?

http://www.theguardian.com/books/booksblog/2008/oct/03/1

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Optional Poetry and Writing Prompts:

Anaphora:

Anaphora, comes from the Greek meaning up or back, and consists of lines where lines or phrases in sequence begin with the same words. A single word can be repeated or a phrase. It is often used in devotional poetry and a favourite of the Romantic poets. Sonnet No 66, by Shakespeare is an example of this (see link below). The form creates a forceful rhythm and often repeats the same sound.

See here for more details.

Writing Word Prompts:Ā  Chains, Creation, Bites, Transforming, Power, Stealth, Stone

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To confirm,Ā the deadline for all writing, poetry and mp3s for the Nidavellir realm is ThursdayĀ 12th February 2015.

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Ā Thanks so much for your interest.

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References

Ā Allan, T (2010) Vikings, The Battle at the End of Time, London: Watkins Publishing

Crossley-Holland, K (1993) The Penguin Book of Norse Myths: Gods of the Vikings, London, Penguin Books

Ellis Davidson, H.R. (1990) Gods and Myths of Northern Europe, Penguin Books

Hollander, L.M. (1996) tr. The Poetic Edda, Austin: University of Texas Press

Larrington, C. (1996) tr. The Poetic Edda, Oxford University Press

Sturluson, S. (2005) The Prose Edda, Penguin Classics, tr. Jesse L. Byock

Realm 3: Jotunheim – Overview and writing prompts, The Nine Realms, an ArtiPeeps Combined Arts Collaboration 2014-2015

4 Dec

World Tree Norse

The Nine Realms

9 months, 22 poets and writers, 22 Artists, 3 composers, 1 Viking boat= a magical reworking of Norse Mythology for contemporary audiences

Jotunheim

(the realm of the frost and stone giants)

 

Vikings Ahoy!

Here we are at the beginning of December, Ā with the deadline for the poetry and writing for the 2nd realm Vanaheim coming up:Ā Thursday 8th December 2014. I shall start to post out pieces created for Vanaheim the week after next.Ā This month we are outlining the realm of JotunheimĀ and the deadline for all writing, poetry and mp3s for this realm is Monday 12th January 2015.

These monthly posts will draw from a range of primary and secondary source materials and focus on selected gods, themes and stories that circle around the highlighted realm. They will not attempt to cover everything, and writers can embrace any other stories and characters within their writing which is not covered. Month by month we will be building our own magical, contemporary norse world whilst exploring the themes of POWER, NATURE and RELIGION. The project’s overall intention is to embrace orality, translation, storytelling and rhythm all of which are inspired by the origins of the oral tradition of the Norse Sagas.

I may well put out little mini-posts intermittently focusing on orality and poetic form as necessary. Ā 

What is presented below is designed to inspire, present basic information and offer a starting point for individual creativity within the project inspired by the themes, characters and spirit of the myths and stories.

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The Giant Skymir

The Giant Skymir

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1. A brief Ā Overview of Jotunheim

Ā Jotunheim is the home to both the Rock and Frost Giants. It is where the giants fled to start a new race to prevent the extinction of Odin and his family. This race was called the jƶtnar (or jotunn) Ā It is the realm where many conflicts take place between the gods and the giants and where they try to reek havoc on Midgard and Asgard. The sons of Borr (Odin’s father) marked out the boundaries Ā of Jotunheim. The sons also built a vast boundary inland to protect themselves from the giants. The riverĀ  IfingĀ runs through the centre of Jotunheim and separates it from Asgard. There are a range of territories in Jotunheim: 1.Ā Gastropnir whereĀ Ā Menglƶư the lover ofĀ SvipdagrĀ lives; 2.Ā MĆ­mir’s Well, which can be found under the roots of the Yggdrasil in Jotunheim, and from which Odin wants to glean great knowledge; 3.Ā Thrymheim the home of Thaizi (see below, the son of giant Olvadi); 4. Utgard is the the capital of Vanaheim and is ruled by Skrymir (see below) and 5. Vimur River, where the giantessĀ GjĆ”lpĀ attempted to drown Thor (see below).

2. Giants in Context:

The giants are generally considered the adversaries of the gods (the Vanir and the Aesir). However, relationships between the gods and the giants did exist. Thor himself was a child of the union between Odin and Jord Ā (personification of the earth)Ā and Freyja and Freyr were the children of the marriage between Njord and the giantess Skadi.

Giantess, Skadi Hunting In the Mountains

Giantess, Skadi Hunting In the Mountains

 

Giants could also show kindness. This can be seen in the story of a young prince called Agnar who passing through Jotunheim on his way to reclaim his kingdom from his brother, found kindness and shelter with the giants.Ā They were also seen (alongside elves) to also be sources of knowledge, magic and wisdom (see the Alvissmal).Ā Ā Giants despite this are depicted as cold and dark. They cannot stand the sun and are turned into stone if the sun’s rays fell upon them. The giants also lived alongside trolls Ā in Jotunheim, and they were often the giants’ servants. They lived in isolated mountains and are said to be very unfriendly! Ā Many references can be found to them in the ProseĀ Edda’sĀ SkĆ”ldskaparmĆ”lĀ (Poetic Diction).Ā 

You can find a version of the Skalskaparmal here.

The giants are also equated with the natural world. Odin takes parts of the huge giant Ymir (formed out of the chaos of creation, out of the clash of two extreme forces:

Contained within Snorri Sturluson‘s Gylfaginning, Ymir’s creation is recounted:

Just as from Niflheim there arose coldness and all things grim, so what was facing close to Muspell was hot and bright, but Ginnungagap was as mild as a windless sky. And when the rime and the blowing of the warmth met so that it thawed and dripped, there was a quickening from these flowing drops due to the power of the source of the heat, and it became the form of a man, and he was given the name Ymir

You can find the Gylfaginning here.

There have been said to be two types of giants: frost and stone. The frost giants live in the mountains of Jotunheim and are surrounded by winter and they live alongside the stone giants who are hill dwellers and known for their strength. When Ymir was killed by The Sons of Borr nearly all of the frost giants were killed except for Bergelmir and his wife who kept themselves safe. From these two people came the frost giants:

‘Countless winters

before the earth was created

back then Berglmir was born;

that is the the first I remember

when the wise giantĀ 

was placed on a box’

from the Lay of Vaftthrudnir, 35, (The Prose Edda: 16, tr. Jesse Byock, Penguin Classics)

 

Bergelmir

Bergelmir

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3. Ā Some Giants….

A. King Thrym

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Thrym's Wedding Feast

Thrym’s Wedding Feast

King Thrym was King of Jotunheim and the story connected with him and the stealing of Thor’s hammer is one of the most famous in The Poetic Edda (The Lay of Thrym). The poem was considered to be written in the 10th century or earlier. However, this opinion has been debated [see Hollander: 105].

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1. Wroth was Vingthor…….when awaking he

….Mjolnir missed………………his mighty hammer;

….his beard gan shake, …..his shaggy head,

….Fjorgyn’s first-born-……….he fumbled about him.Ā 

2. Ā These words then first….fell from his lips:

……‘Hear thou Loki,……………what loss I have,

……which no wight knows-…………….neither on earth

……nor in heaven: ……………..my hammer is stolen!’

The Poetic Edda (tr. Hollander: 104)

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The story runs that Thor’s hammer goes missing. Thor and Loki take Freyja’s feather-cloak so that he can fly to Jotunheim and challenge Thrym, accusing him of taking the sword. Ā Thrym acknowledges the fact that he has stolen the hammer, and says he will only give it back if Freyja (theĀ goddess associated with love, sexuality, beauty, fertility, gold, seiưr, war, and death) can be his wife. Ā Loki returns to Asgard and asks Freyja to go to Jotunheim and marry Thrym. However, she refuses. At a council of the Aesir Heimdall suggests that Thor could dress up as Freyja and go to Jotunheim in disguise. Thor eventually agrees to this . The disquise works. Thrym becomes entranced by Thor’s eyes and is amazed at how much meat and fish he can eat, let alone how much he can drink. The sword Mjollnir is brought in to sanctify the marriage and Thor grabs it and beats all the giants up, and in so doing reclaims the sword.

31. Laughed Hlorrithi’s……heart within him

…..when the hammer beheld………..the hardy one:

…..Thrym he slew first, ………….the thurses’ lord,

Ā ….then crushed he all…………..the etins’ kin

The Poetic Edda [tr. Hollander: 109]

See here for the full Lay.

W.H. Auden

W.H. Auden

 

The Lay of Thrym is also one of the stories W.H. Auden focused on in his collection ofĀ Ā Norse Poems, published in 1969:

‘Then Loki flew- the feathers whistled-

Out of the door of the hall of gods

On and onto the hall of giants.’Ā 

(Auden and Taylor, Norse Poems: 218)

Working with the translation from Paul B. Taylor, Auden, able to read Icelandic himself, Ā attempted to capture the rhythms of the Icelandic verse.

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B. Skrymir:

Skrymir by Elmer Boyd Smith

Skrymir by Elmer Boyd Smith

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As Ā mentioned in the Prose Edda, Gylfaginning…..Ā Whilst sleeping in the grove of the giant Skrymir, Thor, Loki and Thor’s servantĀ ĆžjĆ”lfi, are tricked by Skrymir’s illusions and the giant ends up going along with them on their travels towards Utgard. Ā The giant causes mischief and tries to take their food…. Ā 

Once they reach Utgard the giants gets Thor and his travellers to undertake a battle with ‘metaphors- made-flesh’; Thor’s servant has a footrace against thought, and an eating contest against fire personified. Ā Thor is asked to pick up a cat which is in fact the World. He also wrestles with old age personified. ThorĀ gets so fed up with the tricks of the giant heĀ tries to kill Skrymir while he sleeps. However the giant shields himself behind a magic mountain.

By the end of the contest Ā Skrymir develops respect for the 3 travellers and tells them how he has deceived them with his illusions. Thor tries to attack him, but as he does so the giant magics the whole castle away-and all that is left is a prairie.Ā 

*You can find this tale on p55-61 of The Prose Edda, Penguin Classics Edition (tr.Jesse Byock, sections 45 and 46). And a section translated from Icelandic here.

*You will find the tale of Skrymir between p84-85 of The Penguin Book of Norse Myths (See bibliography below)

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C. Thiazi:

Thiazi and the Magic Apples

Thiazi and the Magic Apples

Ā 

Thiazi was the son of the giant  Olvaldi, and he was made notorious because of the kidnapping of the goddess Iðunn.  The three gods Odin, Loki and Hoenir were travelling together, and they tried to roast an Ox for their dinner, but the meat would just not cook. An eagle who was sitting in an oak tree called out to them and offered to cook the meat for them if they gave him a share.  However, the eagle seems to take more than a fair portion and Loki becomes angry and tries to hit him with a stick. Loki gets ensnared and the eagle flies away with him. The eagle will not release him until he has Idun (Iounn) and her golden apples.

Loki goes back to Asgard and lures Idun outside and Thiazi, disguised as the eagle, takes off with her and her apples. Without tha apples of youth the Aesir begin to grow old and Loki feeling guilty takes off to Thiazi’s abode, and takes the shape of a falcon. When he arrives Thiazi is out fishing and Loki changes Idun into a nut and takes off with her. Thiazi’s daughter Skadi comes to avenge Ā her father and this is how she ends up being married to Njord.

You can find this story also in theĀ Skalskaparmal here.

 

D. GjÔlp (daughter of giant Geirröðr):

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Thors journey to Geirrodsgard where he spies Gjalp

Thors journey to Geirrodsgard where he spies Gjalp

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In The Prose Edda (Skaldskarparmal) Thor comes upun Gjalp with her legs straddled across two ravines. Her huge presence affects the flow of Ā the water running through the ravine and the river rises dramatically (This act is usually taken to be Gjalp trying to drown Thor with menstral fluid or urine!). Ā Thor throws a stone at her telling her to release the flow. In order to save himself from the rising water Thor grabs hold of some rowan branches:

‘Just then he was swept towards the shore, where he was able to grab hold of some rowan branches, and so was able to climb up from the river. The event is the origin of the expression that rowan trees are Thor’s salvation. ‘ (tr. Byock: 91).

Thor arrives at Geirrod’s house (Gjalp and Geip’s father) and immediately sits down on the only chair in the room. Huge screams come out from down below the chair as he realises the two daughters are underneath. He has broken their backs. Ā Consequently, Geirrod and Thor fight and the giant tosse a large piece of molten iron at him. However, Thor deflects the piece of metal and it pierces a pillar. Geirrod ends up on the floor outside.

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Themes, Relevance and Questions:

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Strength and Feminity: Ā Gjalp is a female giant who blocks the waters of a river with her legs causing Thor to get very angry. It could be said that she represents a very interesting form of femininity, Ā one which has the strength to force nature into submission. However, it seems that Thor (the epitomy of strength wins over when the giantesses backs gets broken when he sits on them). Ā Exploration Point: the power dynamics within the norse sagas.

The origins of language, linked to fun, play and mutability: The story linked to the giant Skrymir is an interesting one as it directly engages with language and literary forms in a playful way, through a story where metaphors are made flesh. Objects are personified and characters ‘play with language’ (racing against thought). Ā A bit like the story of ‘ The Mead of Poetry’ mentioned in the Vanaheim Overview, it is clear that underlying this play, there is a subtle subtext that the sagas are attempting to communicate. That is: how their authors see language- as playful, spirited, fluid and bold; like the strength of the giants and the flow of water.Ā 

Things of Interest:

1. Learning Schools Radio: Thor and the Giants:

http://www.bbc.co.uk/schoolradio/subjects/english/viking_sagas/episodes/part_4

2. Ā Giants: Mystery and Myth:

The Discovery Channel:

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The second of the 6 programmes can be found here:Ā https://www.youtube.com/watch?v=WFXAPByoj9w

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3. A Musical Rendering of W.H. Auden’s PoemĀ Baldr’sĀ DreamĀ 

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Baldur’s Dream …..Eddara SƦmundĀ (as translated by W. H. Auden & P. B. Taylor)

Barbara Thornton, voice
Benjamin Bagby, voice
Elizabeth Gaver, fiddle

Edda Sequenta.

If you go to the link the full length poem can be found there.

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Optional Poetry and Writing Prompts:

An Onegin Sonnet/Pushkin Sonnet:

This form was created by the writer Pushkin for his verse novel Eugene Onegin.Ā 

The stanzas have 14 lines of iambic tetrameter rhyming ababccddeffegg. Ā The green letters indicate feminine rhymes (the lines have an extra unstressed syllable) and the black letters are for masculine rhymes (a simple rhyme- bat/cat).

See here for more details.

Writing Word Prompts:Ā  Myth, Power, Dreams, Threat, Pebble, Fate, String, Cowerdice

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To confirm,Ā the deadline for all writing, poetry and mp3s for the Jotunheim realm is Monday 12th January 2015.

Ā .

Ā Thanks so much for your interest.

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References

Ā Allan, T (2010) Vikings, The Battle at the End of Time, London: Watkins Publishing

Crossley-Holland, K (1993) The Penguin Book of Norse Myths: Gods of the Vikings, London, Penguin Books

Ellis Davidson, H.R. (1990) Gods and Myths of Northern Europe, Penguin Books

Hollander, L.M. (1996) tr. The Poetic Edda, Austin: University of Texas Press

Larrington, C. (1996) tr. The Poetic Edda, Oxford University Press

Sturluson, S. (2005) The Prose Edda, Penguin Classics, tr. Jesse L. Byock

 

Realm 2: Vanaheim – Overview and writing prompts, The Nine Realms, an ArtiPeeps Writing, Art and Music Collaboration 2014-2015

4 Nov

World Tree Norse

The Nine Realms

9 months, 22 poets and writers, 22 Artists, 3 composers, 1 Viking boat and a magical reworking of Norse Mythology for contemporary audiences

Vanaheim

(the realm of the Vanir gods)

 

Vikings Ahoy!

Here we are at the beginning of November and with the deadline for the poetry and writing for the first realm Asgard coming up:Ā Thursday 6th November 2014. I shall start to post out pieces created for Asgard next week onwards.Ā This month we are outlining the realm of VanaheimĀ and the deadline for all writing, poetry and mp3s for this realm is Monday 8th December.

These monthly posts will draw from a range of primary and secondary source materials and focus on selected gods, themes and stories that circle around the highlighted realm. They will not attempt to cover everything, and writers can embrace any other stories and characters within their writing which is not covered. Month by month we will be building our own magical, contemporary norse world whilst exploring the themes of POWER, NATURE and RELIGION. Ā The project’s overall intention is to embrace orality, translation, storytelling and rhythm all of which are inspired by the origins of the oral tradition of the Norse Sagas.

I may well put out little mini-posts intermittently focusing on orality and poetic form as necessary. Ā 

What is presented below is designed to inspire, present basic information and offer a starting point for individual creativity within the project inspired by the themes, characters and spirit of the myths and stories.

.

Vanaheim

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Ā .

1. A brief Ā Overview of Vanaheim

Ā 

Vanaheim is home to the Vanir gods who are associated with magic, fertility and wisdom. It is the realm where Njord (the father of Freyr) was raised. Ā It is a realm which is Ā covered in forests and water, and is populated (amidst others) by nature spirits. There is only one mention of Vanaheim in the Poetic Edda (see below). It is also briefly covered in chapter 1 ofĀ  HeimskringlaĀ (the best known of the Old Norse Kings’ saga):Ā  “Van Home or the Home of the Vanir”- described as located around the Don River.

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2. The VanirĀ 

The Vanir gods are not as easy to define as the Aesir. They are surrounded by mystery and are more elusive. The Vanir gods are also primarily linked with fertility. They presided over sunshine, crops, rain, and growth. Their season is spring. They are often portrayed in constant conflict with the Aesir. This conflict famously manifests in a hostile war centred around the treatment of a giantess called Gullveig. The Aesir try to kill her, but the Vanir protect her. The conflict comes to an impasse and the gods exchange hostages. Njord, Freyr and Freyja (see below) went to live with the Aesir and MimirĀ (‘the rememberer’, the wise one) joins the them. This is how Njord moves to Asgard.

‘She that remembers, the first on earth,
when Gullveig they with lances pierced,
and in the high one’s hall her burnt,
thrice burnt, thrice brought forth,
oft not seldom; yet she still lives.
Heidi they called her, whitherso’er she came,
the well-foreseeing Vala:
wolves she tamed, magic arts she knew, magic arts practiced;
ever she was the joy of evil people.’

[translation by Benjamin Thorpe from The Poetic Edda, VöluspÔ]

nb. You can find the VöluspÔ  here (1936, tr. by Henry Adams Bellows)

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Interestingly, the Vanir gods embody many of the traits of fertility gods from other civilisations and regions of the world. As Ellis Davidson says:

‘the fertility pattern is a definite one, easy to recognise, and the northern myths which have to do with the Vanir fall into the accustomed forms’ (124). The Vanir did not distinguish between good and evil in order to bring about justice. Their power lay in the fact they could increase fecundity in nature: in crops, animals and at home. They could also bring about links between man and the unknown. There was an air of mystery connected to the Vanir gods and goddesses that bridges between the known and unknown. Ā Good luck could also be brought through fecundity.

Ā 

freyr 2

Freyr

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Freyr

Freyr is Njord’s son and ended up moving from Vanaheim to Asgard as a hostage of war in the first conflict between the Aesir and the Vanir (see above). Freyr gives sunshine, wealth and rain and gives the gifts of peace and plenty. The literal meaning of Freyr is lord. He possesses a ship called theĀ Skƭưblaưnir which magically can not only hold all the gods, but can also fold into a pouch. He also has a boar with marvellous golden bristles, and Freyr is said to have come over the sea to rule over men. It is worth noting that there is a close connection between the symbols of boats and the energy governing fertility from the Bronze Age in Scandinavia onwards (Ellis Davidson: 132). Model ships were often given as offerings. There is also a connection between death, ships and the Vanir.

In The Prose Edda Freyr is described as ‘the most splendid of the gods. He controls the rain and the shining of the sun, and through them the bounty of the earth. It is good to invoke him for peace and abundance.’ (tr. Jesse Byock, Section 24, p35).

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Freyja

Freyja

Freyja

Freyja is Freyr’s twin sister. She is associated with love and had certain powers over the dead. She drives a chariot drawn by cats and is called the goddess or bride of the Vanir (Ellis Davidson: 125). Freyja has also been closely associated with the world of death. The story inĀ  Egil’s Saga confirms her association with death as the hero’s daughter Thorgerda threatens to commit suicide after her brother is killed. ‘I shall take no food until I sup with Freyja’. She is often pictured as a weeping goddess. Her tears are said to be of gold. A necklace is also associated with Freyja: the Brisingamen. Ā A necklace is something that has been associated with the mother goddess from early times. Freyja is also said to take on the shape of a falcon. In such a form she traveled great distances. She is also linked to a particular sort of witchcraft calledĀ SeiưrĀ which enabled practitioners to see into the future.Ā She is said to be the first priestess to teach this form of Ā magic to the Aesir. Her magic is generally connected to the coming season and the destinies of those who wished to see into the future. She is fundamentally responsible for the destiny of her community. This form of witchcraft was taken on by various cults and you can see her influence on various sybils through the ages. (119)

Ā 

Njord

Ā 

Njord

Controlled the wind and seas. He dwells in Noatun ‘the enclosure of ships’, and is one of the few gods to survive Ragnarƶk. In the Lay of VafþrúðnismĆ”l, section 39:

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“In Vanaheim the wise Powers made him

and gave him as hostage to the gods;

at the doom of men he will come back

home among the wise Vanir.”

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You can find the full Lay here.

Njord was married to Skadi (daughter of giant Thjazi) who came from the mountains to marry him, and then, when the marriage unsuccessful, went back to the hills (See story focus below). Ā He is the father of twins Frey and Freyja.

 

Ā  Story Focus:

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The Mead of Poetry

Ā 

1. The Mead of Poetry, from Chapter 5 the SkĆ”ldskaparmĆ”lĀ  (‘the language of poetry’) of The Prose Edda

Consisting of a dialogue between Ɔgir, the Norse god of the sea, and Bragi, the god of poetry.

This story is seen to be a metaphor for poetic inspiration.

(See p83-87 of The Prose Edda, Penguin Classics, tr. by Jessie Byock)

‘Aegar continued, ‘What is the origin of the accomplishment you call poetry? ‘

Ā The Prose Edda indicates the mead was created when the Vanir and Aesir were at war. They agree to hold a peace meeting and both sides spit into a vat, and in so doing create a man called Kvasir (84). Kavisir travels the world imparting knowledge. He comes upon two dwarves called Fjaalar and Galar who kill Kvasir pouring his blood into vats called Sin and Bodn and into a kettle called Odrerir. The dwarves blend honey with the blood and from this was create the mead that Ā makes ‘whoever drinks it a poet or a scholar’. TheyĀ  trick a giant Gilling into drowning, but before he dies Gilling’sĀ  strands the dwarves on a rock. The dwarves offer the poetic mead to Ā his son Suttung by way of compensation. Suttung takes the poetic mead home with him andĀ  sets his daughter Gunnlöð  to watch over it.

This is why poetry is called ‘Kvasir’s blood’… ‘the drink or intoxication of the dwarves’……’the ship of the dwarves’….’Suttung’s mead’ (84-85).

‘The Aegir said, ‘It seems to me that calling poetry by these names obscures the truth. But how did the Aesir get Suttung’s Mead?’ ‘

Odin eventually ends up with the poetic drink by asking for a drink of the mead in return for doing the work of nine slaves for a giant called Baugi. The story goes that Baugi and Odin (using the name Bolverk) go to Suttung to ask for the Mead and he refuses. They trick Gunnlƶư and Odin drains all the mead. Before anyone can get to him he shape-shifts into an eagle. Suttung, changing into an eagle too, takes after him. The Aesir see Odin coming in the shape of an eagle and they put vats out to catch the liquid as Odin spits out the mead. Suttung still chases after him. Evading capture Odin blows some mead out of his rear (which is known as ‘the bad poets’ portion’ (86)) .

‘Odin gave Suttung’s mead to the Aesir and to those men who know how to make poetry. For this reason we call poetry Odin’s catch, find, drink or gift, as well as the drink of the Aesir.’

You can find more about SkÔldskaparmÔl here.

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2. Njord and Skadi splitting where they live (from Section 23 of Gylfaginning), in The Prose Edda

(See p33-34 Njord and Skadi,Ā  The Prose Edda, Penguin Classics, tr. by Jessie Byock)

Njord was brought up in Vanaheim and wanted to live near the sea, but his wife Skadi preferred the mountains. She wanted to live in Thrymheim [Thunder Home] the place which her father had owned. Compromising, they agreed to stay 9 nights in Thrymheim and 3 nights at Noatun

After the 9 nights in the mountains. Njord said:

‘Hateful for me are the mountains

I was not long there,

only nine nights.

The howling of wolves

sounded ugly to me

after the song of swans’

and Skadi said:

‘Sleep I could not

on the sea beds

for the screeching of the bird.

The gull wakes me

when from the wide sea

he comes each morning’

Skadi then decides to return home.

[See the Lay of Grimnir, 11]

http://www.germanicmythology.com/PoeticEdda/Grimnismal.html

http://www.vsnrweb-publications.org.uk/Edda-1.pdf

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Ā 3. Skadi Choosing Njord as Her Husband

(See p 82-83 of SkÔldskaparmÔl, The Prose Edda, Penguin Classics, tr. by Jessie Byock)

Marriage of Skadi and Njord

 

Skadi, setting out to avenge her father’s death (p82), takes all her weapons of war in order to confront the Aesir. However in order to facilitate a reconciliation they offer the choice of a husband to her, but she must only choose him by his feet. She chooses Njord (who is from Vanaheim) and this does not go down at all well with Baldr (a god of light and purity,Ā son of the god Odin and the goddess Frigg). So they settle upon another condition that the Aesir should also make her laugh. So Loki ties one end of a piece of rope to his testicles and the other he ties to a goat and they pull back and forth eventually making Skadi laugh. And finally Odin, takes Thjazi’s eyes and casts them into the heavens forming two stars.

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Themes, Relevance and Questions:

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Mystery and Magic: The gods and stories connected to Vanaheim and the Vanir seem to indicate that they operate between spaces and things and within nature. They are steeped in mystery and often embody a state of transition,Ā  probably because of their links to fecundity (birth/death). In contrast to the Aesir, who seem to be powerful in a very obvious way (through force).Ā  See Freyr and Freyja.

Poetic Origins: Ā As related inĀ Ā SkĆ”ldskaparmĆ”l the origins of poetry were derived out of the war between the Vanir and the Aesir. Through the creation of a mead norse myth engages with the beginnings of poetic form and it’s importance. Ā ‘Good’ poetry is connected with the gods, Ā and poetry is ‘made’ (see Story Focus 1) which would seem to indicate an awareness of construction and the power behind storytelling.

Humour, Spirit and Power: There is a great cheeky spirit embedded into the stories outlined in this overview: a kind of life force which uses humour to make big decisions, to heal wounds. This seems to be an interesting way to confront notions of power and to destabalise them. Loki’s actions with the goat, for instance, deemphasise the fact that Skadi is in fact marrying a Vanir. Ā How do the norse sagas use humour to engage with difficult subject matter, and relieve tension?

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Things of Interest:

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Kenning:

A kenning (Modern Icelandic pronunciation: [cʰɛnːiŋk]; derived from Old Norse) is a type of circumlocution, in the form of a compound that employs figurative language in place of a more concrete single-word noun. Kennings are strongly associated with Old Norse and later Icelandic and Anglo-Saxon poetry.

Kennings and Alliteration for Beowulf (the same principle applies in the Norse Sagas. Top tip: turn the music on the video down)

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http://en.wikipedia.org/wiki/Kenning

 

Contemporary writer Gerdur Kristny: Bloodhoof (modern re-inventing of an Edda poem which tells of the abduction of Gerour Gymisdottir from the land of the giants to the court of Freyr)

Scrobble to 2.43:

 

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http://www.amazon.co.uk/Bloodhoof-Kristny-Gerdur/dp/1908376112

 

National Gallery of Iceland

 

 

Carl Frederick From Salza (1858-1905)

an artist and illustrator who provided drawings for the 1893 edition of The Prose Edda. http://en.wikipedia.org/wiki/Carl_Frederick_von_Saltza

Njord by Carl Frederick von Saltza

Njord by Carl Frederick von Saltza

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…………………………………………………………………………Ā 

Optional Poetry and Writing Prompts:

If you wish you can use the following poetic form for your poem:

Fornyrưislag

This poetic form is Ā one of the most used in ancient German, Anglo-Saxon and Norse-Icelandic poetry. Verses have 4 syllables. It is known in England from 700 A.D. onwards (Beowulf is an example). It is also found in German poetry from the 8th century, and in Swedish runes from the 9th century. As the centuries rolled by the form became more rigid with each stanza having eight lines (in German and English poetry it has four lines).

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An e.g. from the VƶluspƔ:

Hljóðs bið ek allar Silence I ask from all,
helgar kindir the holy offspring,
meiri ok minni greater and lesser
mƶgu Heimdallar sons of Heimdallr.
Vildu at ek Valfƶưr Do you wish, Valfƶưr (Odin)
vel fyr telja that I clearly rehearse
forn spjƶll fira of living beings those ancient tales
þau fremst um man? which I remember from farthest back?

Two lines are connected by alliteration to form pairs.Ā In the a-line two syllables may alliterate with one syllable in the b-line. Ā It can also be just one syllable in the a-line:

Hljóðs bið ek allar
helgar kindir

But in the b-line readers always find a second non-alliterating syllable to put stress on, matching the second stressed syllable (often alliterating) of the a-line.

See more here

Writing Word Prompts:Ā  Gales, Stars, Trust, Transformation, Apples, Giant, Disturbance, Curses, Growth

To confirm,Ā the deadline for all writing, poetry and mp3s for the Vanaheim realm isĀ Thursday 8th December.

Ā .

Ā Thanks so much for your interest.

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References

Ā Allan, T (2010) Vikings, The Battle at the End of Time, London: Watkins Publishing

Ellis Davidson, H.R. (1990) Gods and Myths of Northern Europe, Penguin Books

Hollander, L.M. (1996) tr. The Poetic Edda, Austin: University of Texas Press

Larrington, C. (1996) tr. The Poetic Edda, Oxford University Press

Sturluson, S. (2005) The Prose Edda, Penguin Classics, tr. Jesse L. Byock

 

Web Links

http://www.trobar.org/

Realm 1: Asgard – Overview and writing prompts, The Nine Realms, an ArtiPeeps Writing, Art and Music Collaboration 2014-2015

6 Oct

World Tree Norse

The Nine Realms

9 months, 22 poets and writers, 22 Artists, 3 composers, 1 Viking boat and a magical reworking of Norse Mythology for contemporary audiences

Asgard

(the realm of the warrior gods)

 

Vikings Ahoy!

Here we are at the beginning of October and into the first month of ArtiPeeps’ next EPIC collaboration. This month we are outlining the realm of Asgard and the deadline for all writing and poetry and mp3s for this realm isĀ Thursday 6th November 2014. As soon as the poetry is in we will start posting it out on a weekly basis.Ā 

These monthly posts will draw from a range of primary and secondary source materials and focus on selected gods, themes and stories that circle around the highlighted realm. They will not attempt to cover everything, and writers can embrace any other stories and characters within their writing which is not covered. Month by month we will be building our own magical, contemporary norse world whilst exploring the themes of POWER, NATURE and RELIGION. Ā The project’s overall intention is to embrace orality, translation, storytelling and rhythm all of which are inspired by the origins of the oral tradition of the Norse Sagas.

I may well put out little mini-posts intermittently focusing on orality and poetic form as necessary. Ā 

What is presented below is designed to inspire, present basic information and offer a starting point for individual creativity within the project inspired by the themes, characters and spirit of the myths and stories.

.

Asgard

Ā .

A brief Ā Overview of the Viking Cosmos:

Ā When Ymir lived long ago
Was no sand, no surging waves.
Nowhere was there earth nor heaven above.
Bur a grinning gap and grass nowhere

Voluspa-The Song of the Sybil

So the story goes, Ā Odin, King of Asgard set out with his two brothers to kill Ymir (a primeval frost giant made of clay). From Ymir’s body they formed the world. His blood became rivers, his flesh land, his bones mountains and his skull the sea. Four dwarves were sent to the four corners of the firmament, and the sun and moon in chariots were sent out to follow each other across the sky.Ā 

Having made the world Odin seeks to fill it with beings. First came the dwarves, and then came people- formed out of flotsam from the seashore and he gave them a home-in centre Midgard. After human kind was taken care of they created Asgard, a place filled with huge halls and palaces.Ā 

Asgard, reached only by crossing a bridge guarded by Heimdall, the divine watchman, is the realm of the warrior gods, known as the Aesir. The pillar of wisdom, which all norse mythology pivots around, runs through the middle of Asgard. It is the centre of Wisdom.

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Odin_with_Gunnlƶd_by_Johannes_Gehrts

Odin

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The AesirĀ 

The Aesir gods are one of two divine families (alongside the Vanir) who live in Asgard.

Odin is the head of the Aesir- the All-Father (Ellis-Davidson: 29):

‘Then third said, ‘Odin is the highest and oldest of the gods. He rules in all matters, and, although the other gods are powerful, all serve him as children do their father….He is also called Father of the Slain [Val Father] because all who fall in battle are his adopted sons’ (Sturlson: 30, The Prose Edda, 20. Odin the All-Father)

Odin journeyed all over the world with two carrier ravens as companions called Huginn and Munnin (Thought and Reason). He also possessed a magical spear which guaranteed death.

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Odin_hrafnar

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Odin, roaming outside of Asgard, would often wander around Midgard dressed in a disguise as a tall grey-bearded man in a long cloak and hat. Odin was feared and respected, and would go to any length to acquire knowledge and sate his curiosity.  His quest for wisdom knew no bounds and in a story within HÔvamÔl  in the Poetic Eddha he endured not only 9 days hanging from the Yggsdrasil (the tree of wisdom) but the piercing of his own eye with a spear all to gain the knowledge of the runes..

I wot that I hung….‘on the wind-tossed tree
………….all of nights nine,
wounded by spear,……bespoken to Othin
…………..bespoken myself to myself
[upon that tree…..of which none tellet
…………….from what roots it doth rise]

(Hollander: 36, tr. The Poetic Edda, HÔvamÔl , The Sayings of Har/The Sayings of the High One)

The meaning of the story above seems to revolve around the notion of sacrifice:Ā despite many lures being offered to him he nevertheless continued to sacrifice himself. Odin was thought, symbollically to bring success.

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Frigg

Frigg

Ā .

Frigg:

Ā Frigg is queen of Asgard and married to Odin. She is goddess of marriage and motherhood and has great powers of magic; she can foretell the future of gods and man. In many early religions, states Davidson, Ā mother earth often ‘appears as the wife of the supreme sun god’ (110). However, clear proof of the worship of the Earth Mother in Scandinavia is hard to find. The only truly maternal figure in Asgard, depicted in the Prose Edda, is that of Frigg.

In the Poetic Edda poem, OddrĆŗnargrĆ”trĀ (Odin’s Lament)Ā she is sited as the goddess to be invoked during childbirth, and similarly Ā in the VƶlsungaĀ as connected to motherhood as she asks Odin to grant permission for a couple to have children (Ellis Davidson ((131-132). In North-Western Europe the figure of Frigg has had a huge influence Ā with certain groups throughout the centuries and ‘their ability to determine the destiny of the{ir} new-born child[ren]’ (132) .Ā 

May hallowed wightsbring help to thee,
Frigg and Freya……and favouring gods,
as oft thou warded…..evil from me
(and hastened hitherhelp to bring me)

(Hollander: 280, The Poetic Edda, OddrúnargrÔtr )

Frigg figures consistently in the poetry of the Poetic Edda. Ā Her role as queen cannot be underestimated but she is often overpowered in the Eddas by the depiction of Freya (from the Vanir gods).

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Thor

Thor

.Thor:

Ā ThorĀ is the son of Ā Odin and Jord (Earth), Living in a huge mansion with his wife Sif Ā Thor, the thunder god, possessed three great treasures: the hammer Mjollnir which could destroy giants and shatter rocks, a belt of power which gave him strength, Ā and iron gloves to allow him to grip his hammer.

Thor is the enemy of giants. There is the story of how he killed the mighty giant Geirröd by hurling back  a mighty lump of melting iron at the giant. 

You can find the Lay of Thor/ThorsdrapaĀ here: http://www.stavacademy.co.uk/mimir/thorsdrapa.htm

Despite his antagonism towards giants he nevertheless had two children  by the giantess Jarnsaxa. JÔrnsaxa is also the name of one of the Nine Mothers of Heimdallr. who were nine sisters who gave birth to the god Heimdallr who possesses the resounding horn Gjallarhorn. The poem The Lay of Hyndla within The Poetic Edda contains the story of Heimdallr. Called The Song of Hyndla, in the Caolyne Larrington translation of The Poetic Edda. 

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Freya awakes Hyndla

Freya awakes Hyndla

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Thor was associated with the elements. He champions the Aesir and defends Asgard The cult surrounding him has had a long history in western europe. He kills with direction (unlike Odin and Loki). He kills with bolders and force. He is the god that travellers call to before setting out on journeys. Thor, it is said, can be trusted as:

‘Thor had done many great works, and had split rocks and shattered cliffs, while Odin gave men victory’ (Tryggvason, Olaf’s Saga cited in Ellis Davidson: 74).

Thor was the most popular god with 25% of the population in Iceland having his name as part their name. Iceland’s annual assembly opens on Thursday, his day. Ā Thor is a god who although reigned omnipotently is associated with equality across all walks of life from craftsperson to aristocrat. (Allan: 51).

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Thor's Hammer

Thor’s Hammer

Ā 

.Loki:

Was the child of giants and lived in Asgard, and is known for his mischievousness and trickery. He gained entry into Asgard by befriending Odin. Odin and Loki were blood brothers. Snori Sturlson (the writer of the Prose Edda) calls Loki ‘the slander bearer of the Aesir, the promoter of deceipt’ (Allan: 54) . Ā He ‘ was the cause of many things’ (Sturluson: 69).Ā Loki was also known for his ability to change shape and sex.

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Loki 2

 

The stories around Loki usually consist of him getting some sort of punishment. For instance, nearly having his lips sewn up as punishment for a lost bet. It is a fitting comeuppance for a smooth talker (54). However, he has also saved Asgard- when a giant demanded that he should have the sun, the moon and Freya in payment for building a wall around Asgard (54). Ā He saved the day by confusing the giant by turning himself into a stallion to distract the mare of the ogre. Loki has two sides.Ā 

From the pairing of Loki and the mare came Sleipnir, Ā an 8-legged horse. Loki’s children all had dark undertones. This showed in his other child with giantess Angrboưa with whom he begat Hel, Queen of the Dead. Ā Loki also played a key role in Ragnorak (the doom of the gods).

An excerpt from the Edda poem  VöluspÔ (which contains the story of Ragnorak) can be found here. See video of a reading of the poem below. 

 

Themes and Relevance, Questions:

Power and its consequences. The questioning of leadership:Ā Asgard is the seat of power, leadership, craft and justice. The qualites of its primary gods and godesses speak to that. The strength of Odin and Thor through to shapeshifter Loki represent a spectrum of qualities both good and bad, both mutable and fixed. It is interesting to think about the dynamics of force and freedom in relation to this.

The questioning of Knowledge/ Wisdom: Asgard has the root of Wisdom from the Yggsdaril tree running right through its centre, signalling its status as the focus of Wisdom. But often the actual behaviour of the gods does not seem to reflect this. What does this say about knowledge?Ā 

The Force of Creation and Mutability:Ā Frigg, one of the few female godesses in Asgard seems to symbolically be there to juxtapose against the male gods’ acts of power. As a symbol of fertility and growth, she represents the other side of the coin. Different forces of creation and destruction rest side by side in Asgard. Loki also represents this through his shapeshifting.

Ā 

Things of Interest:

On the Poetic Form of Norse Sagas: Alliteration, Kenning

http://en.wikipedia.org/wiki/Old_Norse_poetry

http://www.vikinganswerlady.com/meters.shtml

BBC The Viking Sagas

British Museum:

http://www.britishmuseum.org/explore/cultures/europe/vikings.aspx

BBC Schools Radio, Thor and the Giants

http://www.bbc.co.uk/schoolradio/subjects/english/viking_sagas/episodes/part_4

Voluspa Part 1/2:

Voluspa Part 2/2:

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Optional Poetry and Writing Prompts:

If you wish you can use the following poetic form for your poem:

The Brisbane Sonnet: Ā consists of two sestets and a couplet. The original sestet was based on the Hymnal Octave form which has a rhyme scheme of a.b.c.b.a.b.c.b. Two of the b lines are removed and leave a rhyme scheme of a.b.c.a.b.c. by adding another similar sestet d.e.f.d.e.f. and a couplet, g.g., this sonnet form was born.

For more information see:Ā http://goo.gl/9dLg2l

Writing Word Prompts: Ā Shapeshifter, Twisting, Birth, Flotsom, Smashing, Discipline, Endearment, Quest

To confirm,Ā the deadline for all writing, poetry and mp3s for the Asgard realm isĀ Thursday 6th November.

Ā .

Ā Thanks so much for your interest.

References

Ā Allan, T (202) Vikings, The Battle at the End of Time, London: Watkins Publishing

Ellis Davidson, H.R. (1990) Gods and Myths of Northern Europe, Penguin Books

Hollander, L.M. (1996) tr. The Poetic Edda, Austin: University of Texas Press

Larrington, C. (1996) tr. The Poetic Edda, Oxford University Press

Sturlson, S. (2005) The Prose Edda, Penguin Classics, tr. Jesse L. Byock

 

 

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