Mythology Final

Front 1

Some suggest this is the yongest poem in the edda, others have suggested its the oldest.

which one

Back 1

Thrymiskiva

Front 2

In skaldic verse, you find a correlation. what is it?

Thyrymskivda

Back 2

early poems use um a lot and later poems use "um" less

Front 3

Poems that use this particle a lots should be old and those that use it less should be young. what particilple

Thyrymskivda

Back 3

unm

Front 4

what myth has three times more than the average expletive article (um)

Back 4

Thyrymskivda

Front 5

When did they probably stop speaking Norse?

Back 5

1050

Front 6

um sacdi

what kind of poem is this?

old english?

Back 6

yes

Thyrymskivda

Front 7

um scnddi

what is odd about this?

Thyrymskivda

Back 7

it is an old norse word in an old english ryythm

Front 8

What is Brisings?

Thyrymskivda

Back 8

Frejias necklace, Brisings, might be dwarves that Freya slep with, Loki could have stolen it and prosmis to

Front 9

What story is Brisitings also found in?

Thyrymskivda

Back 9

Beolve

Front 10

What could be the derviative of the necklace?

Thyrymskivda

Back 10

from the people of Brisa

Front 11

What kind of plays were still around in 1800?

Back 11

Thor pays, where they dress up the burliest lady. the church had failed to repress these plays

Front 12

If we are dealing with a Pre-Christain origins, why should a Christain be more worried about passing down than heathen?

Back 12

found homsexuals appalling

wanted to produce as many children as possible

many nunes were widows and monks were older

Thyrymskivda

Front 13

what did Ergi mean?

Thyrymskivda

Back 13

both homosexual and cowardice

Front 14

Thor was most popular god in ....

Thyrymskivda

Back 14

late heathen society

Front 15

Why was what Thymir did in the poem against what was common in the culture?

Thyrymskivda

Back 15

In order to marry, you ask the head to marry. Usually head of bride cosetned with the bride. Marriage happens at her house and he comes bearing a huge gift. When the bridegroom was more walthy, bride would get married at bridegrooms's house. Thrym simply says "BRING ME THE WOMEN" and giant's sister syas to loki "give me your jewlery" (reverse gift)

Front 16

Freja says this in Thyrymskivda: "You'll know me to be the most sex-crazed of women, if I drive with you to the land of giants,"

why

Back 16

this demonstrates how angry she is getting

Front 17

Stanza 17:

Who says this:

"The Aesir will call me a perert, if I let you put a bride's viel on me."

Back 17

Thor

Front 18

what is an erai, and when does Thor say it?

Thymirstifval

Back 18

a pervert

here:
"The Aesir will call me a perert, if I let you put a bride's viel on me."

Front 19

What is interesting about what Loki says:

"I'll go with you to be your maid, we two shall drive to the land of the giants."

Back 19

In this section, loki uses the neuter form of numeral II, usually helf in man and woman concept, is Loki saying is is a woman or a Thor a woman?

Note

Front 20

who is very shrewd maid who sat before him?

Back 20

Loki who has shifted shapes

Front 21

what is this a sign of:

"Bring in the hammer to sanctfy the bride, lay Miollnir on the girl's lap."

Back 21

a fertility gesure

Front 22

Thor's heart laughed in his breast,
when he, stern in courage, recongized the hammer;
first he strcuk Thrym, lord of ogres,
ang battered all the gaints

He skilled the old sister of giants,
she who had sked for bridal gift;
striking she got instead of shillings,
and a blow of the hammer instead of many rings

Back 22

looks like english influecne

usually refers to the english coin, here it is used in a snese of called bits of jewlery, usually Latin word shackles in shillingas

shillingas: old english definition: half moon jewleryy

Front 23

=========(Eddas and Sagas, Reykjavík, 1988, p. 39) have argued for a pre-Christian origin for the poem.

Back 23

Einar Ólafur Sveinsson and Jónas Kristjánsson

Front 24

This view has been strengthened by ------------s statistical study of the frequency of the filler-particle of/um in eddic and skaldic verse

Back 24

Bjarne Fidjestøl’

Front 25

He shows that in -------- verse, most early poets use the particle heavily, while it becomes progressively rarer in later poetry.

Back 25

datable skaldic

Front 26

Some early skaldic poets make less than average use of it, but there are no poets after the early--------- whose work shows an above-average frequency

Back 26

eleventh centur

Front 27

---------shows heavier use of it than any other eddic poem, and by a long margin; this suggests a very early date.

Back 27

Þrymskviða

Front 28

At the other extreme, Jan de Vries, Hallberg, Magerøy, Kvillerud and Jakobsen have all dated Þrymskviða to the first half of the thirteenth century, citing four main arguments:

(list five things)

Back 28

1.Its use of end-rhyme and formulaic repetition, and the virtual absence of anything resembling a kenning; these seem reminiscent of later Scandinavian ballads.

2. Its erratic alliteration, which may (but need not) suggest a late loosening of the traditional rules of eddic verse.

3. It narrates a myth that is not found anywhere else, and is not quoted in Snorri’s Edda.
4. It has been argued to include echoes from a variety of earlier poems (though it is often difficult to prove indebtedness, or which direction it went in).

Front 29

he metrical pattern of ----------1,4, um sacnaði ‘(Þórr) found (his hammer) missing’ is of a characteristically OE type, with only one stressed syllable in a line consisting of a prefix followed by the past tense of a weak verb

Back 29

Þrymskviða

Front 30

This line in Þrymskviða cannot be a translation from Old English, where this verb does not exist; this suggests composition in Old Norse by a poet who was influenced by ----------

Back 30

Old English metrical patterns.

Front 31

--------- (Þrymskviða 3,6; 5,2; 9,2) is not found elsewhere in Old Norse verse, but does appear in Old English verse and prose. The idea of the ------- which can be tied onto someone without transformation into bird-form can also be paralleled only in sources derived from the British Isles (such as Breta sögur, the Old Norse translation of Geoffrey of Monmouth, or the Völundr figure carved on the tenth-century Leeds Cross) or the Angevin empire of the twelfth-century kings of England (Alexanders saga, translated from the Alexandreis of Walter of Chatillon).

Back 31

fjaðrhamr ‘coat of feathers’

fjaðrhamr as a flying suit

Front 32

men Brísinga ‘necklace of the Brísingar’ (Þrymskviða 13,6) is ------found elsewhere in Old Norse verse, though Snorri mentions it (Gylfaginning ch. 35 and Skáldskaparmál chs. 8, 20, trans. Faulkes p. 30, 76, 86); but cf. also men Brosunga, Beowulf 1199.

Back 32

not

Front 33

þrúðugr ‘-------’ (Þrymskviða 17,2) is not found elsewhere in Old Norse verse, but does appear in Old English verse.

Trymskvida

Back 33

courageous

Front 34

------- (Þrymskviða 32,6) probably ‘metal decorations on jewellery’ (Larrington ‘many rings’), is not found elsewhere in Old Norse verse; in prose (especially in commercial and legal documents) it is used for an English or German monetary unit, or in religious texts as the equivalent of the Hebrew shekel. But in Old English glosses it also appears with the explanation ‘small moon-shaped piece of metal used in women’s jewellery’, which is a more appropriate sense here, since what the giant’s sister has demanded is jewellery, not money. This sense is otherwise only found in Old English.
Thymskvida

Back 34

scillinga

Front 35

The loose alliteration of the poem, and its occasional tendency to use extra, decorative alliteration, are reminiscent of later OE verse, as is the very frequent use of the meaningless particle------ (corresponding to Old English ge-).
Conclusion: these features suggest that some elements of Þrymskviða have been influenced by Old English; this implies that they must have existed by ca. 1100.
Thymskvida

Back 35

um/of

Front 36

The use of couplet end-rhyme in st. ------ is unique in eddic verse; it and the large use of formulaic repetitions in the poem suggest the influence of early ballads, which implies a revision of the poem in the twelfth century or later.
Thymskvida

Back 36

1,2-4,

Front 37

Þrymskviða employs two set formulae for introducing speeches;

what are tehy
Trymskvida

Back 37

a) Oc hann þat orða allz fyrst um qvað
‘And he spoke these words first of all’
(Þrymskviða 2,1-2; 3,3-4; 9,9-10; 12,3-4)
which is also used, but with the feminine pronoun, in Oddrúnargrátr 3,9-10.

which is also used, but with the feminine pronoun, in Oddrúnargrátr 3,9-10.
b) Þá qvað (þat) Loki, Laufeyiar sonr
‘Then Loki spoke, son of Laufey’ (Þrymskviða 18,1-2; 20,1-2)
(cf. also Þrymskviða 15,1-2; 17,1-2; 22,1-2; 25,1-2; 30,1-2, and cf.:
Þá qvað þat Gullrönd, Giúca dóttir (Guðrúnarkviða I 12,1-2; 17,1-2; 24,1-2)
‘Then Gullrönd spoke, daughter of Gjúki’
and the same formula is also used with the names of other characters in Guðrúnarkviða I 4,1-2; 6,1-2; 23,1-2; 25,1-2). Several other formulae are also common to these poems. Guðrúnarkviða I probably dates from the later twelfth century, while Oddrúnargrátr has been placed at the very end of a sequence of poems which seem to have built on each other (see Theodore M. Andersson, The Legend of Brynhild, Islandica 43, Ithaca and London, 1980, pp. 108-127).

Front 38

The Icelandic Christmas-season ritual of Háa-Þóra (‘Tall Þóra’), the giant-sized ‘woman’ in search of a husband) is first recorded in the mid-eighteenth century, but is thought to have come to Iceland in the medieval period after a pre-Christian origin in continental Scandinavia - see Terry Gunnell, The Origins of Drama in Scandinavia, pp. 151-5. Háa-Þóra (played by a very large man, dressed as a woman and carrying a female mask topped with a wedding headdress attached to a stick above his head) enters the hall along with her ‘daughter’ (cf. Þórr and Loki in Þrymskviða); they engage in a dialogue in which they (insultingly) discuss the relative merits of the men present as potential husbands. This goes on until they are driven out of the hall with sticks by threats or actual ritualized violence. The mock wedding at midwinter may account for twelfth-century Norwegian church laws forbidding all marriages during the Advent and Christmas seasons (Gunnell 98).

what does this represent

Trymskvida

Back 38

folktalke represented of thyrmir

Front 39

The Wooing Ceremony folk plays are found only in an area centred on Lincolnshire, one of the heaviest areas of Norse settlement in England (see Alex Helm, The English Mummers’ Play, Woodbridge, 1980, pp. 11-19). Their texts are recorded only from about 1800 onwards (between sixty and seventy have been collected), but some of their motifs were known much earlier. The Lady (played by a man) is wooed by a variety of suitors beginning with an Old Man (who may be equivalent to the giant), but finally gives herself to the Fool/Protagonist; this traditional pattern appears in the 1552 Banns of Lindsay’s play A Satire of the Thrie Estaitis. A hideous woman called Dame Jane (who resembles the giant’s sister, and is also played by a man) claims that the Fool must marry her rather than the Lady, saying that he has fathered a child on her; a probable parallel to this figure, played by a male minstrel called ‘Mother Naked’, appears in the Durham Priory accounts for 1433-4. These plays also often include a fight in which a giant or devil is killed by the Fool or by ‘St. George’, and a scene in which Dame Jane and the Fool accuse each other of eating outrageously much at the wedding feast (compare Þrymskviða 24-25). As the church authorities disapproved of these plays and repeatedly tried to suppress them, they are probably of pre-Christian origin.

what is this a possible link to

Trymskvida

Back 39

Possible Links with Folk Drama

Front 40

Did Snorri know Þrymskviða?

Trymskvida

Back 40

Þrymskviða is not quoted or mentioned in Snorri’s Edda, and most scholars have assumed either that he did not know it or else that he knew it to be very recent and did not trust it as a source for ancient tradition. Hallberg even suggests that he had composed it himself, though there is no evidence for this. But two points suggest that he may have known the poem:

Front 41

what is one point that might show that snorri knew the poem

Trymskvida

Back 41

he phrase men Brísinga ‘necklace of the Brísingar’ (13,6) appears in Old Norse only in Þrymskviða and in Snorri’s Edda; in Gylfaginning ch. 35 (Faulkes 30) and Skáldskaparmál ch. 20 (Faulkes 86) Freyja is referred to as the owner of the Brísingamen. In Skáldskaparmál ch. 16 (Faulkes 76-77), Snorri says that Loki and Heimdallr fought for the Brísingamen and cites a verse by Ulfr Uggason; however, this actually says that they fought over a ‘beautiful sea-kidney’, which doesn’t sound much like a necklace, so Snorri may have misunderstood this verse. In Skáldskaparmál ch. 22 (Faulkes 87), he quotes a verse from Þjóðólfr of Hvin’s skaldic poem Haustlöng ‘(Lasting) the whole Fall’ (ca. 900), in which Loki is called ‘thief of the girdle of Brísingr’s gods’ (perhaps ‘thief of the necklace made by dwarfs’), and this is usually related to the story of how Loki stole Freyja’s necklace (which is told in the legendary prose of Sörla þáttr), although that story does not call it the Brísingamen. Snorri may have made this connection because of Þjóðólfr’s verse, but his use of the title for Freyja’s necklace can be paralleled only in Þrymskviða and in Beowulf.
According to Beowulf, the Brosinga mene ‘necklace of the Brosings’ was stolen by Hama from the Gothic tyrant Eormanric, who according to Middle High German tradition had got his gold by killing his nephews, the Harlung brothers. The German-Latin Chronicle of Ekkehard (ca. 1100) says that the fortress of the Harlungs was at Breisach (castellum nominee Brisahc) on the Rhine. This suggests that Brísinga men originally meant ‘necklace of the people of Breisach’, and that Þjóðólfr (and probably also the poet of Þrymskviða) mistakenly identified it with Freyja’s necklace (made by the dwarfs, who are famously workers of metal) and so mistakenly assumed that Brísingr was the name of a dwarf. Snorri then followed Þjóðólfr’s verse and Þrymskviða.

Front 42

What is another reaosn that Snorri might have know the poem?
Trymskvida

Back 42

In Þrymskviða 30,7-8, the giant demands that the hammer be used to ‘consecrate us together by the hand of Vár’. Snorri lists Vár among the goddesses in Gylfaginning ch. 35 (Faulkes 30), and says that ‘she listens to people’s oaths and private agreements that women and men make with each other’. But Vár is not mentioned anywhere else in Old Norse, and her name is derived from Old English wær ‘treaty’, ‘contract’; this does not refer particularly to romantic agreements between men and women, but to legal agreements in general, and it is a word which does not survive in any Scandinavian language. It may be that this is another detail influenced by old English, and that the line in Þrymskviða should be translated ‘consecrate us together by means of a formal contract’, but even if there was a goddess called Vár, it seems likely that Snorri attached romantic associations to her only because of the context in Þrymskviða.

Front 43

In his poem what is this an example of:

the lad found his grandmother very ugly to him she seemed, nine-hundred heads she head
Hymiskvida

Back 43

an example of grotesque exaggeration

Front 44

what is this exmaple of:

he went into the hall, the icles tinkled
when he came in: the man's cheek-forest was frozen.

Hymiskvida

Back 44

an example opf exaggeration, also that it is not too serious

Front 45

Hymiskvida

what does this express:

they had not gone far, before Thor's goat
collapsed, half-dead, in front of them;
the draught-beast was lamed in its bones,
this the wicked Loki caused

Back 45

how Hymir paid for this

How did Loki cause this if he wasn't there?

Front 46

Hymiskvida:

The mighty one came to the assembly of gods,
bringing the kettle whcih Hymir had owned
and the gods are going joyfully ro drionk
ale at Aegirs every winter

whatdoes this show

Back 46

that there is a happy ending

that at Aegir there is only one feast

Front 47

what does the # of elaborate ways of refferring to Thor express

Hymiskvida

Back 47

that it was a very talented poem, but handling of myths seems careless

Front 48

What three mths it this about
Hymiskvida

Back 48

how Thor was tricked into geting a brewing cauldron

Thor and goats and how they became lame

Front 49

What is the goat story here?

Hymiskvida

Back 49

Thor goes out and stays with a poor giant who has two children. Since they have nothing to eat, he kills their goat. Since it is a magic goat, Thor demans the skin and bones. The magic goat is alive again. The next day except the bone was broken because one giant did this, the goats leg is broken. Thus, Thor demands the giantess children, where, one of the children sevants becomes a fast runner.

Front 50

what are the three contests that Thor works in
Hymiskvida

Back 50

wrestling

drinnking

life cat off floor

Front 51

Explain the fishing story.

Hymiskvida

Back 51

Very well known.

How many scoldic poems tells us wheter or not he caught the serpent.

Is it possible that by 1000, there could have been a myuth that he caught the world serpent

Front 52

What is this myth really doing?

Hymiskvida

Back 52

If Thor kills the world falls apart and this is widespread, can be found in sculpture as wel.

everyone in the middle ages thought the world was roung

aware that the world might be the hempisphere

Front 53

Why is the world doomed either way in regards to the world serpent?

Hymiskvida

Back 53

Tho kills the world seprent

world serpent will come and spit posison

Front 54

Thor fishing for the world sepetne
Hymiskvida

Back 54

celarly fishing with line, carefully Thor is sticking his hand though boat

Front 55

what is the Altuna Stone?

Hymiskvida

Back 55

Figure is Thor due to hammer, beanth him you can see tclumbsy fihsing lin and beneath that you can see jaws of serpent, sculptor hasn't included the figure of Hymir, minus the foot thoguht the bottom of the boar

Front 56

Hymiskvida

what is wrong with the three myths jammed into this story

Back 56

frame story of the cauldron shoved into the goat str and the fishing tstoyr does create problems in contradictying othe versions of story

Front 57

Hymiskvida

why is it odd that Tyr goes with him to retreive the cauldrom

Back 57

becaue he is not the bravest god

Front 58

Hymiskvida

who is absolutely ineffective in Hymirslive

Back 58

Tyr

Front 59

Hymiskvida

what does Tyr mean?

Back 59

a god

Front 60

Hymiskvida

How does this story relate to Jack and the Bean stalk?

Back 60

Because since Thor is half giant, the giant he is stealing from is a father figure. It is okay to steal it because it is inheritence

Front 61

Hymiskvida

This poem could sympbolicaaly be about what

Back 61

adolescnce

Front 62

Hymiskvida

Who is able to lift the cauldron?

Back 62

Tyr tries, but fails
Thor picks up cauldron is a reaffrimation of Thor bcause of his mighty stenth and adding more battle, listend cauldron puts it down for

Front 63

Hyndluljo

What is this poem doing in the poetic edda?

Back 63

look at the noble ancestry

look at the past

Front 64

Hyndluljo

how does she keep referring to Ottar

Back 64

as Ottar the foolish

Front 65

Hyndluljo

Right at the beginning, one can saw it is abit of...

Back 65

a mysterday

Front 66

Hyndluljo

How do you recoggnize the structure of the poem?

Back 66

most norse poems have a clear structure

Front 67

Hyndluljo

Goddess patronized Ottar the foolish, who visits the hag to...

Back 67

get the information he needs

Front 68

Hyndluljo

In this story, there is an obivous function of...

Back 68

patrnizing

Front 69

Hyndluljo

In the beginning of the poem ,you...

Back 69

are never told who the speaker is

Front 70

Hyndluljo

Stanza 1, Hyndla is referred to as a sister , ut..

Back 70

is she really a sister or is this just flattery

Front 71

Hyndluljo

Stanza 2:

gives gold

what does this signifiy

Back 71

that the speak is fond of Frya

Front 72

Hyndluljo

Stanza 3

vicotry
intelligence
poetic skill
manliness

who are they referring to?

Back 72

Oddin

Front 73

Hyndluljo

Stanza 4:

and yet he is not accustomed to be freinds with giant's brids

what does this emphasize?

Back 73

that THor likes to kill giantessts

maybe he is trying to decieve Hyndla

Front 74

Hyndluljo

What does hyngla ride?

Back 74

wolves

Front 75

Hyndluljo

Stanze #5:

"your board is slow in treading the way of the gods; I don't want to load up my excellent steed."

what does this signify

Back 75

boar is equivalent of Frey

Sow is Freya is riding a boar while she speaks to Hnda

Front 76

Hyndluljo

Hyndla doesn't think the boar is a boar, but what?

Back 76

but instead that it has been transformed

Front 77

Hyndluljo

What is the boar?

Back 77

It is Freya's lover.

She is :

trying to decieve Hyndla

transformedher lover into a boar

Front 78

Hyndluljo

In this case both Hyndla and Freja are .-------- to Ottar

Back 78

sexually interested

Front 79

Hyndluljo

what is a odal

Back 79

estates, Ottar wants to get his land by being able to name male ancestors by five generation before himself

Front 80

Hyndluljo

Stanza 10

to glass

why improtant

Back 80

they are valuable like jewels

Front 81

Hyndluljo

Why would Hyndla the information that he needs?

Back 81

rivalry between the two woman for love of the human man

Front 82

Hyndluljo

"YOU OTTAR"

what is Hyndla doing when she irectly refers to him

Back 82

Pointedly ignores Freja, may be jealousl

Front 83

Hyndluljo

Stanza 12-13 is all that Ottar needs to pass the Odal test, why would Hyndla five all ther est of the inofmriaton

Back 83

she is trying to impress Ottar

Front 84

Hyndluljo

What is the good thing about Freya and the the Hag

Back 84

Freja is useless

The hag is filled with information . Why she refers to "Ottar the foolish" is because. why is he hanging out with her?

Front 85

Hyndluljo

What does Hyndla's inormation always seem to go back to?

Back 85

the beginning of the ginats

Front 86

Hyndluljo

"it's important that you know it--do you still want to know more"

what is this repetitive thing called and why is it importnat

Back 86

referred to as a refrain, important because it helps the person knows what character is speaking

Front 87

Hyndluljo

expplain what the ale of memory is:

Back 87

cup filled with liquid spurting out, a magical drink to maintain what you have been told in your memory

Front 88

Hyndluljo

You ranafter Od, yearning continousl
many men have shoved thesmelved under the front of our skirt,
you go learping, noble friend, outside at night,
like Heidrun going to the billy goats

what's going on here?

Back 88

Hylnda is accusing Freya

Front 89

Hyndluljo

What is the foreshadow of this whole story?

Back 89

that Ottar will get his inheritence but in the end, Ottar will be poisoned and pay for it anyway

Front 90

Hyndluljo

I see fire burning and earth ablaze;
most people can endure the price of saving thier lives
carry the beer in Ottar's hand
ized with much psin, with ill luck

You greeting will have no effect

although, gainst' bridm you promise a curse
he sahll drinnk the precious liquor
I call on all the gods to help Ottarr

Back 90

Freya's protectioin vs. Hyndla's poison

Front 91

Skirmismal

what does this mean

Back 91

the shinging one, could be that he equals the sexual symbol of the sun

Front 92

Skirmismal

what does Gerdr mean?

Back 92

yard, fence, enclosed field

Front 93

Skirmismal

what does Skaldi mean?

Back 93

personification of scandianican land mass

Front 94

Skirmismal

what does Gymir mean?

Back 94

related to hummus (ground) and hiems (winter)

Front 95

Skirmismal

Were Sorri and other Christian wrtiers away of the diravative of what it measn?

Back 95

probably not

It terms of pre-christain oringis, theoris s i probably wrong

Front 96

Skirmismal

explain the negative reciprocity in this poem?

Back 96

aristocrats can have sex wih any god, but it doens't work the reverse:

male varnia can't marry Aesir or the Varina so they tend to breed with giants

Females can only have affiard with Asier

can't have with Varnia, and nothing would happen with giantess

Front 97

Skirmismal

How much parchement could a skin of sheep make?

Back 97

8 pages

Front 98

Skirmismal

what is the modern persepctive?

Back 98

is unavoidably the case interested in mytholgy because of what it measn to them now

Front 99

Skirmismal

what is Njoror?

Back 99

Varnia

associated with wealth/sea
rules over wind, calms sea and fire
hostage

Front 100

Skirmismal

‘Rise up now Skírnir, and go to ask our son for a word,
And to find out this: with whom the fruitful man[5] is so angry.’

who says this

Back 100

Freyr

Front 101

Skirmismal

Skírnir said:
2. ‘I expect harsh words from your son, if I go to speak with your child,
And to find out with whom the fruitful man is so angry.’

3. ‘Tell me, Freyr, ruler of nations for the gods,[6] what I want to know:
Why do you sit alone at the end of the hall, my lord, all day?’

why is he not suppoed to respond this way?

Back 101

Skinir is a servant, he is supposed to what he is said to

Front 102

Skirmismal

Freyr said:
4. ‘Why should I tell you, young man, my great sorrow of mind?

what does this enatil

Back 102

that he is being pompous

Front 103

Skirmismal

Skírnir said:
5. ‘I do not think your desires so great that you cannot tell them to me, man;
For we were young together in the old days - we could trust each other well.’


what is he saying

Back 103

that Freyr and hiim ahve a history togehr

Front 104

‘I yearn for the girl more than for anyone who was young in the old days;
No one, neither gods or elves, wants us to come together.’[9]

what is he saying

Back 104

that the woman is more important than Skirnir

Front 105

Skirnirsmal

Then give me the steed which can bear me through darkness, and through the inescapable flickering flame,[10]
And the sword which fights by itself against the kindred of giants.’


what two things is he demanding

and what does the inescapable flcking flame represent

Back 105

he demands a steed and a sword, these two things were genuine to the orignial myth

the flame represents the flame

Front 106

Skirnirsmal

Tell me, herdsman, as you sit on the mound and watch in all directions:
How can I get into talk with the young one in spite of Gymir’s bitches?’

what does this represent?

Back 106

A type scne that is seen contiously, she meets a herdsmen before railing her faither tomb

Front 107

Skirnirsmal

Skírnir said:
13. ‘There are better choices than to lose heart, for anyone keen to get on;
My age was shaped to last for a day,[12] and all my life determined.’


what does this entail

Back 107

that the hero is aware that he is the sun

that the sun only lasts a day (my age......)

strain of christianty that believs in predestination

Front 108

Skirnirsmal

‘What is that resounding noise[13] that I hear thundering now on our benches?
The earth trembles, and all the courts of Gymir shake at it.’

Back 108

resounding noise

suggests that giants represent death

all indhabitants of hell don't manke noise

Front 109

Skirnirsmal

Gerðr said:
16. ‘Invite him to go into our hall and drink the splendid mead!
And yet, I fear that here outside may be my brother’s slayer.[14]

Back 109

he knows that on one level that his is Freyr, and on a mythic level, Skirnia is Freya

Front 110

Skirnirsmal

Skírnir said:
18. ‘I am not of the elves, nor the sons of the Æsir, nor of the wise Vanir,
Although I have come alone over the raging fire to see your household.’

Back 110

Skinir is saying here that he is not Freye

Front 111

Skirnirsmal

‘I have here the apples of endless life,[15] all golden, which I will give you, Gerðr,
To buy peace for Freyr, so that you may greet him as the dearest man alive to you.’

what do the golden apples represent

Back 111

guarentees immortality

Front 112

Skirnirsmal

‘I will give you a ring then, which was burned along with Óðinn’s young son;[16]
There are eight others, just as weighty, that drop from it every ninth night.’


what does the ring represent

Back 112

represents fertitlity of the crop

Front 113

Skirnirsmal

what is Gerdr interested in?

Back 113

not gifts, but from wealth and power

Front 114

Skirnirsmal

26. I carve a rod of enchantment against you, and I shall tame you, girl, to my wishes;
You shall go where the sons of men shall never see you again.

Back 114

uses magic since she want go with Freyr

Front 115

Skirnirsmal

what do giantess represent

Back 115

cold, winter, unfertile

Front 116

Skirnirsmal

Be like the thistle that was crushed down at the end of the hay harvest.[22]

what is this

Back 116

a curse

pmkiissstttiiilll

Front 117

Skirnirsmal

three rune-staves - perversion, and frenzy, and that which cannot be borne;[29]
I shall whittle it off as I carved it on, if there should be a need for this.’

Back 117

these runes only started to be used in 1200

Front 118

Skirnirsmal

Rather (than that), be welcome, lad, and accept a foaming goblet full of old mead![30]

Back 118

probably older than Lokesenna

Front 119

Freyr said:
42. ‘A night is long, two are long, how can I endure three?
Often a month has seemed less to me than this half wedding night.’

Back 119

possibly a comedy or a threat