#not translating allar

[solacedeer]

mon petit poney mon petit poney

AaahhhhhAaaaahhhhhh

Mon petit poney

je me demandais ce qu'était l'amitié

et avec moi vous l'avez tous partagé!

de grandes aventures

pleines de joies

un immense coeur pure

Et fort a la fois

un brin de tendresse

c'est oas bien complexe

UN TOUR DE MAGIE ET C'EST PARTI

Tu es my little pony

l'amitié est la magie qui nous uniiiiiiiiiiit

I’m not 100% but this MIGHT be the first time someone has sent pink pony club into my ask box and i’ve never been more thrilled

[hatari-translations]

JóiPé and Króli - Tveir koddar (Two Pillows) - transcript/translation

Request from @haggadahhandittothem! Apologies for the delay. In this song, JóiPé and Króli deal with a bad relationship that has ended, featuring a random audio sample from a Fóstbræður sketch.

Icelandic transcript

Tveir koddar en ég er ennþá einn (á einn) Tómur magi, fullur haus, lítið breyst (lítið breyst) Tveir koddar en ég er ennþá einn (ennþá einn) Hlutir áttu að snúast en þeir snérust varla neitt (varla neitt)

Eitt vatnsglas Tveir mínus ei-n-n-nn Lyktin úr gullkassanum, hún eltir mig nú heim Eitt annað, mér þykir það leitt en göngutúr úr kastalanum heldur núna heim

Festu(?) mig upp Teldu upp á tíu Kastaðu í mig múrstein Skerðu úr mér nýrun Ertu að fara upp? Ertu einn í rauða bílnum? Þú veist hvar ég á heima Komdu að kyssa á mér eyrun Er einhver stakur? (?) Vill einhver vera tveir og tveir? (?) Kasta kannski á milli? Eða horfa kannski á mynd? Feitar varir, pirringur og dautt skin Hata sjálfan mig alltaf eftir klukkan fimm

Eins og hvolpur í kringum þig Gerði allt fyrir þig Nú er ég geltari Nenni engu kjaftæði Orðinn mun sterkari Allt fyrir aftan mig Hættur að hugsa um þig

Farþegi minn gaf mér bók sem ég les fyrir svefninn (?) Hélst utan um hana og slepptir ekki Söng aldrei nóg um hvað við vorum einstök blekking Síðan fékk ég nóg - sprenging

Farþegi minn gaf mér bók sem ég les fyrir svefninn (?) Hélst utan um hana og slepptir ekki Söng aldrei nóg, um hvað við vorum einstök blekking Síðan fékk ég nóg - sprenging

Tveir koddar en ég er ennþá einn (á einn) Tómur magi, fullur haus, lítið breyst Tveir koddar en ég er ennþá einn (ennþá einn) Hlutir áttu að snúast en þeir snérust varla (neitt)

Eitt vatnsglas Tveir mínus einn Lyktin úr gullkassanum, hún eltir mig nú heim Eitt annað, mér þykir það leitt að göngutúr úr kastalanum heldur núna heim

(Ókei)

Milljón ljótar hugsanir Engin af þeim virðist vera um þig (vera um þig) Aðeins færri góðar hugsanir Hver ein og einasta virðist vera beint til þín Komdu að tefla, ég skal kenna þér mannganginn Nei, ég meina, viltu halda vinasambandi Engan að sakast, það er ég sem held um stýrið En ég hata allar beygjur sem ég tek í þessu lífi

(Milljón ljótar hugsanir)

Tveir koddar en ég er ennþá ein-n-n-nn Tómur magi, fullur haus, lítið breyst Tveir koddar en ég er ennþá einn Hlutir áttu að snúast en þeir snérust varla neitt

Eitt vatnsglas Tveir mínus einn Lyktin úr gullkassanum, hún eltir mig nú heim Eitt annað, mér þykir það leitt að göngutúr úr kastalanum heldur núna heim

(SIGURJÓN KJARTANSSON: Hjálp, hjálp! Hjálp!) (JÓN GNARR: Hvað er að?) (SIGURJÓN KJARTANSSON: Eiríkur?) (JÓN GNARR: Þú kallaðir á hjálp?) (SIGURJÓN KJARTANSSON: Já, öh… sængin réðst á mig, sko.) (JÓN GNARR: Ég trúi þessu ekki! Þú ætlar ekki að hætta! Ef þessu heldur áfram þá endar þú í ruslagámi!)

Transcription notes

Although I started transcribing this myself, I then discovered there are lyrics on Genius for this song, which Króli's verified artist account has contributed to (though I can't see which parts he contributed), and I cross-referenced with that. Unfortunately, it's JóiPé's parts that are really difficult here, and I can't be sure if Króli would have corrected his parts too or what. I can just about accept most of the Genius lyrics as correct, but even on repeated listens I really, really can't hear "Ertu nýkomin með bók til að lesa fyrir svefninn" as that; I hear something closer to "Farþegi minn gaf mér bók sem ég les fyrir svefninn", though it's still very slurred and unclear, and because that's my own best guess I kept it as that. The Genius lyrics also say "Frystu mig upp", but that doesn't really make any sense and I think it's "Festu mig upp". By all means tell me if JóiPé personally confirms the Genius lyrics for these lines, though.

The other lines I'm extremely not sure about are "Er einhver stakur/Vill einhver vera tveir og tveir", which definitely ends with "tveir og tveir" and I don't have a better guess for it but if the lyric isn't official from JóiPé or Króli I can definitely not vouch that that's it; I hear some garble that doesn't really sound like that but doesn't sound too unlike that either.

I distinctly hear "en göngutúr úr kastalanum" the first time, whereas the Genius lyrics have að there. The second and third time sound like að, though. I'm going to stick with the first one being en at least in the audio.

The dialogue at the end is sampled from a sketch from beloved Icelandic sketch comedy show Fóstbræður. More on the sketch in the translation notes.

English translation

Two pillows, but I'm still alone (alone) Empty stomach, head full, little changed (little changed) Two pillows, but I'm still alone (still alone) Things were supposed to get moving but they barely moved (barely moved)

One glass of water Two minus one-n-n-n The smell of the golden box follows me home One more thing, I'm sorry but a walk from the castle is now headed home

Hang(?) me up Count to ten Throw a brick at me Cut out my kidneys Are you going upstairs? Are you alone in the red car? You know where I live Come kiss my ears Is anyone left over? (?) Anyone want to be two and two? (?) Throw a ball between us? Or maybe watch a movie? Fat lips, irritation and dead skin I always hate myself after five o'clock

Like a puppy around you Did anything for you Now I'm a barker No time for bullshit Gotten much stronger Everything behind me Stopped thinking about you

My passenger gave me a book that I read before bed(?) You held it and wouldn't let go Never sang enough about what a unique illusion we were Then I had enough - explosion

My passenger gave me a book that I read before bed(?) You held it and wouldn't let go Never sang enough about what a unique illusion we were Then I had enough - explosion

Two pillows, but I'm still alone (alone) Empty stomach, head full, little changed Two pillows, but I'm still alone (still alone) Things were supposed to get moving but they barely (moved)

One glass of water Two minus one The smell of the golden box follows me home One more thing, I'm sorry that a walk from the castle is now headed home

(Okay)

A million ugly thoughts None of them seem to be about you (be about you) Somewhat fewer good thoughts Each and every one seems to be directed at you Come play chess, I'll teach you how the pieces move No, I mean, do you want to maintain a friendship No one's to blame, it's me that holds the wheel but I hate every turn that I take in this life

(A million ugly thoughts)

Two pillows, but I'm still alone-n-n-n Empty stomach, head full, little changed Two pillows, but I'm still alone Things were supposed to get moving but they barely moved

One glass of water Two minus one The smell of the golden box follows me home One more thing, I'm sorry that a walk from the castle is now headed home

(SIGURJÓN KJARTANSSON: Help, help! Help!) (JÓN GNARR: What's wrong?) (SIGURJÓN KJARTANSSON: Eiríkur?) (JÓN GNARR: You called for help?) (SIGURJÓN KJARTANSSON: Yeah, uh… my comforter attacked me.) (JÓN GNARR: I can't believe this! You just won't stop! If you keep this up you will end up in a dumpster!)

Translation notes

I have absolutely no idea what the thing with the golden box is about, or a walk from the castle now being headed home.

JóiPé's verse asks, among other things, "Are you alone in the red car?"; the person he's talking to at least there is male, since it's einn rather than ein.

If it is "Ertu nýkomin með bók til að lesa fyrir svefninn", then that line translates to "Did you just bring a book to read before bed?" Neither seems super sensible followed with "You held it and wouldn't let go."

Króli wants to teach "you" mannganginn, or literally "the man-walk" - that's what the rules of how the pieces move in chess are called in Icelandic. He also uses the verb tefla which means to play chess, whereas I don't think English has a single verb for that.

The Fóstbræður sketch at the end features a man (played by Sigurjón Kjartansson) who brings his comforter to work and asks not to be disturbed as he takes it into an office. He tells it to be good and then stages a fight with it, in which he wrestles it to the floor only to be overwhelmed and start to call for help. A second man (Jón Gnarr) comes in because he called; Sigurjón's character sheepishly says the comforter attacked him, and without missing a beat Jón Gnarr's character grabs the comforter and pushes it against the wall, scolding it like a repeat troublemaker. So while just hearing the audio or reading the transcript you might assume he's yelling at Sigurjón's character, he's actually yelling at the comforter, which gives a whole new meaning to the bit about ending up in a dumpster. No, I have no idea how this sketch relates to this song or why they chose to sample it at the end.

[nimblermortal]

@athingofvikings I was telling you about the Wanderer's Hávamál. Here's the first verse, in Norse, then translated, then the Cowboy Hávamál version:

Gáttir allar á∂r gangi fram, um sko∂ask skyli, um skyggnask skyli - því at óvist er at vita hvar óvinir sitja á fleti fyrir.

At every doorway before you enter, you should look around, you should take a good look around - for you never know where your enemies might be seated within

Use yer eyes and never walk blind. There ain't no tellin' where there's someone waitin' to pull one over on you.

(The Norse and English are printed on facing pages, with the Cowboy Hávamál at the back)

[nilzou]

October 2nd 2024 - The first walk on the dole in Brest city in french Brittany

---------------------

Note:

-> La version originale du texte en français est ici

-> The original version of the text in french is here

-> The next post of the blog is here

---------------------

6.00 AM: I am opening my eyes. After a few times, I understand that the awakening is definitive and a new nap will be difficult to process. Not a problem, I am used to it these last times and it does not bother me. The sky is cloudless and is giving a glimpse of the stars. Well let’s go, I may not have a workplace anymore but I still can walk along the road to reach my workplace when the weather was lenient. I prepare tea that will fill my thermos bottle. I take away a few pieces of brownies that I cooked for my former colleagues the day before. I leave my home, after 1 minute walk I reach the college Fenelon (called amicably Hogwarts by the some people from Brest city), I go along the side walk on the left right before the entrance of the school, then I come to a small road to reach the Dour Baz garden (“Le jardin de Dour Baz” in french), a place that a friend spoke with me. Once the garden is crossed I get back to the road and take some small sidewalk to reach Moulin Blanc (than can be translated word by word White Mill). This is an artificial beach that is accessible by Bibus which is the name of the transport network of Brest. There, the bathing won’t make you dream. Although, even if the quality of the water has not a good reputation we can see daily some people walking in the ocean. Do not think of riding the waves here. Although according to the conditions you can practise kitesurf, wingsurf and the most famous: the windsurf… In short, all sports that require wind. It is on this beach that I decide to take a rest. On the fine sand, tea in my hand, I enjoy the quiet atmosphere. Few walkers are among this event… Most of them are with their dogs.

8.30 AM: The sun is rising. This is the moment where I take the first pictures of the morning. The scene is filmed. In some of the pictures you can see the Plougastel bridge far away. The bridge that a lot of people use to get to Brest city from the south.

8h50: The botanical garden, a part of the Stang Allar park will open soon. This time, I won’t need to pass above the gate as I did the last few days to enjoy this haven of peace. I am heading to this garden by passing under a bridge. I get a last glance on my back and take pictures.

The more I get deeper on the walk the more the car noise disappears to let the place to the stream which is along the walk. I enter the garden by the North access. I am in the middle of a botanical reserve that the Brest climate allows to cultivate. Here a lot of people work to bring together several species that are from all around the world such as Australia, New Zealand or South America. All these crossed by a consequent stream that is filling the auditive space. As the daylight is present, the bird calls are among this space. I tried to record this atmosphere by using my phone. The result does not satisfy me, it will not be shared with you here.

On the way, a pretty waterfall is appealing to my eyes. I film the scene to immortalise the moment. I reach the south end of the garden.

Here there is a picnic table. I decide to take a rest and have my breakfast here. On my way I meet an amateur photographer. He is specialised in animal photography. He speaks to me about his impression of today. Among numerous birds (that the population has reduced this year according to him) we also can see deers. I am surprised. I take a rest. I finish my breakfast.

I share the photos to my friends and family. An old wife is contemplating the swamp just next to the picnic table. She speaks to me about the bird species that composed the swamp. I cannot list them because my memory for names has never not worked very well. But she knows a lot, I can certify this. She is emphasising that some species become more and more rare with the time. During the discussion she reports the existence of a forest not far from here, the Costour forest. Wildest than here she says… Not surprising by seeing the quality of the maintenance of this park. On my phone she explains to me how to reach this valley. I store these pieces of information in my head. I finish my breakfast. On the way, I share pictures and videos to my fellow relatives (friends and family). I start my way back home. On the bridge that overhangs the waterfall the wife ‘specialist to bird species’ and the photographer are speaking to each other. “The great minds are meeting up” I said to them.

10.15 AM: I cut back on my way home. On my way I take the last photos of the day.

I reach my place. I am tired. I am hungry. I go to eat and then take a little nap.

First version of the text achieved on October 6 2024

Note: the next post of the blog is here

[kriegsgeist]

“Gáttir allar

áðr gangi fram,

um skoðast skyli,

um skyggnast skyli—

því at óvíst er at vita

hvar óvinir

sitja á fleti fyrir.”

(At every doorway

before you enter,

you should look around,

you should take a good look around—

for you never know

where your enemies

might be seated within.)

-Hávamál, translated by Jackson Crawford

[somethingswell]

Look Over The Land ("Lít yvir landið")

Come up to the mountaintop, look out over the Faroes! So exquisite an image! Our spirit rises up here. Here a thousand languages chorus of cliffs and stones and crests. Sing out, my joyful soul, chant alongside the birds!

Oh memorable cliffs, adorned with green terrace! That power was not feeble which built them in earlier times. Still noble, strong, and wild all looks, out over sea, so eerily still by night, lively and rich by day.

Here the puffin builds its nest and the fulmar and gull and dove; near shore sit red-legged guillemot; here the common guillemot walk closely about the scree, and the razorbill flies high to the uppermost cliff face.

The noble fells smile in the sunshine, all so weather-worn with flowers among moss, so dense like saw teeth – fifteen mountains in all – north from Velba toward Skeið and Ambadal.

In flowery adornment now all the hillsides glimmer; over slopes and bridges passes the warm summer breeze; it tames the falls, enriches basins and gullies, strengthens the wild horse, nourishes the lamb and colt.

Hear murmurs, whispers, chatter from small river falls and the pealing ka-ka of blue fisher gulls, and black gulls' answering cry. On the crystal clear pond a duck is elated with its red-cheeked young.

And down below the farm the bright green field with crops all around many stories are remembered of labor and drudging work, many an exhausting hour. Yes, we must thank those who cleared the ground here.

Low houses dense by the cobble, in pleasant arrangement, so tarred and brown with green turf roofs, and the church close by so classical to behold, just as it shines a light on peace in every village and town.

And down below, the boathouse stands with pitched boats; where children fish like the best, where flocks of ducks sway. A young cod so red rushes into the weeds, and the black gull flies down to snatch the cod's meat.

There is no foam on the cape, all the pools are resting; through reefs and skerries glides a piece of driftwood. So tranquill rows a boat in toward the beach, and over a calm fjord the sun is clear and pleasant.

From the peaks to the sand smiling and pleasant, you, Faroe Islands, fill every breast with summer joy. God give us wisdom, God give us strength to work to worship you, to work to your gain.

(poem by Mikkjal á Ryggi, 1954 // translated from Faroese by me)

Original

Kom upp á fjallatind, lít yvir Føroyalandið! So undurføgur mynd! Her lyftist upp vár andi. Her runga túsund mál um rók og reyn og røð. Gev ljóð, mín glaða sál, um kapp við fuglin kvøð!

O minnilig bjørg, væl skrýdd við grønum skorum! Tann kraft var ikki kørg, sum bygdi tey í forðum. Tó stórbært, prútt og vilt alt lítur yvir sjó, á nátt so trølsligt stilt, á degi lív og ljóð.

Her byggir lundin lond og havhestur og ryta og dúgvan; dygst við strond reyðføttir teistar sita; her lomvigan so tøtt fer ruggandi um rók, og álkan bringubrøtt sær ytstu upsu tók.

Tey hábærsligu fjøll í sólarljómar brosa, so veðurbard flest øll við blomstrum millum mosa, so tætt sum tenn í sag – væl fimti fjøll í tall – alt norð frá Velbastað mót Skeið og Ambadal.

Í blomsturvovnum skrúð nú líðir allar glógva; um brekkur og um brú fer summarlotið flógva; tað spekir mangan foss, tað fríðkar lægd og gil, tað stimbrar brasin ross, tað frøir lomb og fyl.

Hoyr tutl og tesk og sjóð frá áarfossum smáum og klingandi kó-kó frá fiskimásum bláum, og skurin svarar pli. Á spegilsblonku tjørn ein toppont fegnast við tey kjálkareyðu børn.

Og niðan fyri garð hin bjarti grøni bøur við veltum víða hvar man goyma mangar søgur um tusk og tógvið slit, um manga sveitta stund. Ja, takka mugu vit teim, sum her ruddu grund.

Lág hús so tøtt um tún í hugnaligum lagi, so tjørubrædd og brún og takt við grønum flagi, og kirkjan dygst har við so ellismild at sjá, rætt sum hon lýsti frið um bygd og bø og vág.

Og niðanfyri neyst við bræddum bátum standa; har veiða børn sum best, har æðuflokkar danda. Ein berggylta so reyð sær inn í taran rann, tá likkan niður fleyg og livrabroddar fann.

Nú hvítir ei við nes, nú hvíla allar íður; fram millum flúr og fles ein rekastubbi glíður. So stillisliga rør ein bátur inn mót lógv, og yvir slættan fjørð sær sólin blonk og flógv.

Av tindum út um sand so brosandi og fegið tú fyllir, Føroyaland, hvønn barm við summargleði. Gud geri okkum vís, Gud gevi okkum magn at virka tær til prís, at nøra um títt gagn.

[human-antithesis]

Með harmi

Lyrics: Og eldurinn brennur bjart glæstur og stoltur - lýsir upp nóttina órólegur og örvæntingarfullur

Berst hann og hamast líkt og öldur á ólgusjó glófextur slær hann í allar áttir - þyrlar öskunni út um allt

...Og þráðurinn brennur og brennur - stólpinn og stóð þessa fögnuðar það eina sem skilur þau að Eldinn og myrkrið

...Og tíminn er naumur og verður skemmri og skemmri sem loginn brennur - ekkert var hægt til að sporna gegn því - engin huggun harmi

Og eins og hendi væri veifað var þráðurinn runninn út - og eldurinn kulnaði og dó svo út og tíminn stóð í stað

...Og þráðurinn brann og brann - stólpinn og stóð þessa fögnuðar það eina sem skildi þau að Eldinn og myrkrið

---

English translation:

With Sorrow

...And the flame burns bright - glorious and proud - illuminating the night - stirred and desperate

He fights and struggles - like waves on stormy seas - blazing, flailing in all directions - whipping up ashen smoke

...And the thread burns and burns - the foundation for this celebration - it is the only thing that separates - the fire and the darkness

...And time is short – and grows increasingly scarce as the flame burns - no solution in sight. No avoiding the inevitable - no comfort to the grief

And just like a snapping of the fingers - the thread ran out - and the fire dwindled and extinguished – and time stood perfectly still

...And the thread burned and burned - the foundation for this celebration - it was the only thing that separated - the fire and the darkness

[maleyanderecafe]

Since quarantine is really boring, do you have any yandere games (mostly mobile apps) that you’d like to recommend ?

I actually did a list on otome mobile games here, and I don’t really have more to add to it, so instead I’ll just recommend some games with male yanderes in it and the yanderes in them.

Mystic Messenger/Dandelions/Nameless: Yoosung/Jumin, Jisoo ,Tei/Yeonho. A pretty good story with interesting characters, most Cheritz games tend to have a yandere of some sort in them. 

Amnesia Memories - Toma, the king of yanderes. The MC is boring, but at least the story is decent. 

Ephemeral, Fantasy on Dark - Natsume. He’s very jealous and clingy, and he’s probably my second favorite storyline. The translation isn’t the best sometimes though. 

Pinewood Island - Ray. I actually haven’t played it, but I’ve heard that the yandere in this one is pretty interesting from @thatyanderecritic

Eat your Heart Valentine! - Allar and Louie. A short game, but fun and cute. Made by @bunniesovercats

My Darling - Takuya. Pretty cute and fun game. I heard they had updates for the translation and some new CGs. 

Wadonohara and the Great Blue Sea - Sal. Really fun game with a good story, art, and character designs. 

Dead Wishes - Mateo. Dark and gory game. Never played this one either but it does seem like fun. 

Monochrome Heaven - Kamishiro Akito/Misaki Ryuuto. Kind of old game with a bittersweet ending in some points. 

Home’s Embrace - Waite/Rowan. Probably don’t play specifically for the yanderes, but a very good horror game with fun characters. 

Don’t Take This Risk - I haven’t played this game, but based on the webtoon, it does seem like he might have a yandere ending. 

There are probably other ones. Some of them you have to pay for and some of them are free. Anyways, hope you’ll have more stuff to do during quarantine with these suggestions! 

[thorraborinn]

Hi! Could you please shed some light on the word vikti? As in, vitkar allir frá Vilmeiði? I get that a vikti is a magician, but any other information I could find on the topic was... Not all that helpful, and usually contradictory. So, what does a vikti actually do?

The word vitki only appears twice (technically three times but the third is irrelevant, described below) in Old Norse, without any real explanation, which is unfortunate because it’s doing some heavy lifting in both cases. This has generated a lot of debate and discussion, all of it considered inconclusive.

All translations in this post are mine, Norse text variously from http://heimskringla.no and https://onp.ku.dk/onp/onp.php. I conferred Ásgeir Blöndal Magnússon’s etymological dictionary heavily, entries from which can be found here (in Icelandic): https://malid.is/.

Hyndluljóð 33:

Eru völur allarfrá Viðolfi,vitkar allirfrá Vilmeiði,seiðberendrfrá Svarthöfða,jötnar allirfrá Ymi komnir.

All völur (völvas) arefrom Viðolfr,all vitkarare from Vilmeiðrseið-bearersfrom Svarthöfði,all jötnarcome from Ymir.

These names are not otherwise known except Svarthöfði (’the one with a black/swarthy head’) which also occurs elsewhere as a name of a jötunn. It was also a regular, if not especially common, personal name in Old Norse times, and in modern times is the standard Icelandic name for Darth Vader in the subtitles to Star Wars movies. There is some debate about the implied meaning of seiðberandi but I’m leaving it translated literally here. Rudolf Simek believes that Viðolfr is actually Vittolfr, apparently a variant (he doesn’t say where, I’m guessing in manuscripts of Gylfaginning where this stanza is quoted) and identifies him with the Vitolfus described in Saxo’s Gesta Danorum as a powerful magician. If true, the vitt- in his name could even be the same as the word vétt mentioned in connection with völur along with the one other use of vitki.

Lokasenna 24:

Loki kvað:“En þik síða kóðu Sámseyu í, ok draptu á vétt sem völur; vitka líki fórtu verþjóð yfir, ok hugða ek þat args aðal.”

Loki said [to Óðinn]:“But they say you did seiðrat Sámsey,and struck a vétt like völur;in the form of a vitkiyou fared above mankind,and I thought that a quality of one who is argr.

The meaning of the word vétt is usually a lid of a chest, though the meaning in this stanza specifically is debated and some scholars think it’s a drum. It’s theoretically possible that it could be the vitt otherwise being discussed in this post, though there is nothing to suggest that reading it as it appears is problematic.

Readers of The Viking Way by Neil Price should note that Price made a rather confusing error on page 76 of the second edition when he said that this is an attestation of a feminine *vitka. It’s not, it’s an inflected form of vitki. With the phrase vitka líki ‘in the form of a vitki’, Loki could be saying that Óðinn is or was a vitki, that he was dressed like a vitki, or even that this involved some kind of transformation or other change of state – the phrasing does not allow us to favor any of these over the other. Technically, as an outside possibility, it could even mean that Óðinn has possessed the body (then, lík rather than líki, but in the dative which is also líki) of a vitki – this is very unlikely to have been interpreted that way because the phrasing “(í) [noun in genitive] líki” is rather common in Old Norse (e.g. Synduzt þeir honum stundvm i liki hunda, warga eda annarra grimmuztu dyra ‘Sometimes they saw him in the form of dogs, wolves, or others of the fiercest beasts’).

What we can gather is little more than what you already mentioned, that it’s some kind of sorcerer. Given that it occurs in a triad with völva and seiðberandi, and because Loki is deploying it weaponized against Óðinn, it seems safe to infer that what the vitki does falls within the realm of seiðr along with its insinuation of ergi, but since we don’t have clear reason to say that what a völva does and what a seiðberandi does are substantially different from each other, we don’t know whether all three of these things are doing the exact same thing, or three distinct but related things. If Hyndluljóð is contrasting the terms, Lokasenna seems to be collapsing them together. Brit Solli has proposed an argument that this describes a threefold identification relating to gender, where völur are women; vitkar men; and seiðberendr neither, both, or something else (I haven’t read Solli, I’ve only read Price’s discussion of her work). This is a satisfying argument for its ability to provide answers to some of our questions, but Price points out that this is all contingent on a string of arguments, each of which is individually speculative, and converge on the word seiðberandi rather than on vitki, so it would still not really tell us about a vitki directly even if accepted. It’s worth noting for clarity that völva is grammatically feminine and appears to only be used of women in Norse, and vitki is grammatically masculine, though the grammatical gender of words in Norse is not necessarily coterminous with the gender of the people they describe, even if there is a general tendency for them to align when the vocabulary permits.

The word vitki is usually interpreted as the definite form the adjective vitugr ‘clever, ’ (literally ‘possessing/endowed with vitr (wit)‘), an exact etymological parallel with English witty. So ‘a/the vitugr one’ becomes *vitgi and then the *g loses its voicing next to the t, a regular phenomenon in Old Norse (see also eitt ‘one’ + -gi (negative suffix) → *eittgi > *eittki > *etki > ekki). So we have a magic person who is designated by reference to their possessing certain knowledge or cognitive abilities, like fjölkyngi ‘magic,’ literally something like ‘knowledge of many things,’ fjölkunnigr ‘magical’ but literally ‘knowledgeable about many things.’ This analysis is demonstrated by the third attestation of vitki in the compound word armvitki ‘compassion’ from armvitugr ‘compassionate’ (broken down into its components, meaning something like ‘knowing about the poor/wretched’ (armr)).

On the other hand, it could also be derived from the adjective vittugr ‘possessing magic power.’ That would mean it is etymologically related to the vitt above. It’s possible that these things became confused as well. The ability to analyze these words for etymological information is obscured by the fact that Old Norse went through a phase of really not liking superheavy syllables, so that a word like vittki with too many consonants in a row has to make some cuts.

We might gain a bit of insight by looking at other related words, in particular the verb vitka. Usually it occurs in a reflexive form vitkask (=vitka sik, to vitka oneself), meaning ‘to recover one’s senses’ (such as after being in a daze). There is also a compound word finnvitka meaning ‘to bewitch’ (literally ‘to vitka in the manner of a Finnish (=Sámi) person’). It’s not certain that a clear connection between vitkast and finnvitka would have been perceived by the speakers of the language at the time, but it is possible – then the lexical meaning is probably the imposition of cognition on someone or something, so that the reflexive vitkast means imposing senses on oneself, a.k.a. recovering from being senseless. Imposition of will or otherwise playing with the mind of another person, such as causing them to lose courage, is a feature of seiðr. We could also interpret this in relation to the idea of trance being a possible feature of seiðr (perhaps the line seið hon hugleikin ‘she did seiðr in a trance(???)’ from the Hauksbók version of Völuspá refers to this?).

However, we should be cognizant of the fact that much of the terminology of seiðr is used in a way that defies what we would expect on the basis of etymology, for example we expect that spá will always pertain to prophecy, yet we find examples of spá referring to offensive magic such as the Vanir’s vígspá ‘war-spá.’ So we have to be aware of lexical drift interfering with the ability of etymology to tell us what a particular word means at the moment that it’s being used in text. In other words, using etymology to figure out what it meant originally doesn’t necessarily tell us what Loki is accusing Óðinn of, or who these people are that came from Vilmeiðr. Indeed, the one use of finnvitka from Heimskringla seems to have nothing to do with mind control, though it’s a bit difficult to tell what precisely is meant by at þeir finnuitkade ór mer augat ‘that they finnvitka’d my eye out.’

So I think that in light of all of this what we can say is that a vitki falls securely into the context of a practitioner of seiðr, but narrowing it down further seems impossible. Neil Price has tried to establish a taxonomy or even general categories of different types of seiðr practitioners, but has not been able to do so. We can determine categories like “telling the future,” “finding lost/hidden objects,” “affecting others minds,” “killing with magic,” etc, but none of these map neatly to any of the words for magical people like völva, vitki, seiðmaðr, etc.

If you’ve found conflicting information, it’s possible that someone mistook one of the theories that have been generated by discourse about this word for being more secure than it actually is (e.g. that it means “male völva”). I have also seen it used in ways that we can be fairly certain are incorrect. In heathen circles it’s become common to define it as “rune magician,” I think following Edred Thorsson. This is not only wrong but probably by design. It turns the word into a Trojan horse to inject a modern concept – the so-called “rune magician” – into others’ beliefs about the past.

We have no choice but to conclude that either a vitki was a practitioner of seiðr but not in a way that distinguishes it from other names for seiðr practitioners, or that the information that would allow us to determine how it is distinguished from other terms has been lost to us. The possibility also remains that the distinction doesn’t refer to what the vitki does but rather how pejorative the word is – one expects that calling someone a seiðmaðr (only offensive if assuming accusing someone of doing seiðr at all is offensive) has a different implication than calling them a seiðskratti (probably specifically offensive). But that is also bare speculation.

[of-faunsandyellowflowers]

Lyrics (From havamal / Old Icelandic + Runes)

Fé, úr, þurs, oss, reið, kaun, hagall, nauðr, íss, ár, sól, Týr, bjarkan, maðr, lögr, yr, Æsa.

138. Veit ek, at ek hekk vindga meiði á nætr allar níu, geiri undaðr ok gefinn Óðni, sjalfr sjalfum mér, á þeim meiði, er manngi veit hvers af rótum renn.

139. Við hleifi mik sældu né við hornigi; nýsta ek niðr, nam ek upp rúnar, æpandi nam, fell ek aftr þaðan.

English translation + Runes

Fé, úr, þurs, oss, reið, kaun, hagall, nauðr, íss, ár, sól, Týr, bjarkan, maðr, lögr, yr, Æsa.

138. I know I hung on the wind full tree all nine nights, with spear wounded and given to Óðinn, myself given to myself, upon that tree, that nobody knows from what root it ran.

139. They gave me no bread nor anything to drink; carefully I looked down, I picked up secrets, took them screaming, I fell again from there.

Lyrics credit

[hatari-translations]

Eilíf sjálfsfróun - Klár strákur - transcript/translation

The band "Eilíf Sjálfsfróun" (Endless Masturbation) has released a parody of "Klámstrákur" known as "Klár strákur" (Smart Boy). Here's a transcript and translation with notes on how it works with the original lyrics!

Icelandic transcript

STUDENT:

(Klár strákur)

Ég læri og læri meira

Ég les og les meira

Ég nötra og skelf allur meira og meira og meira

Ég þreytist og þreytist meira

Ég glósa og glósa meira

Skil ekki hvað þessir kennarar eru að segja

Ég held ég sé að deyja

Veikt sjálfstraust

Lærði ekkert í haust

Lesblindur

Af lærdómi er orðinn

þreyttur og grályndur

Er alltaf drukknandi í móral

þótt að ég læri allar nætur

Gref í hárinu fingur

Ég er kvíðasjúklingur

Ælandi, skælandi, vælandi

Heyrið mig kalla:

ég mun skítfalla

Ég er búinn að gleyma öllu sem að ég lærði

TEACHER:

Þú ert klár strákur!

STUDENT:

Er ég klár strákur?

TEACHER:

Þú ert klár strákur!

STUDENT:

Ég er klár strákur

TEACHER:

Fyrirmyndarnemandi!

STUDENT:

Stundum er að lesa

Stundum er að glósa

Binda niður fróðleikinn, illa leikinn

Ég er klár strákur

Metnaðarfullur námsmaður

Stundum fæ ég góða einkunn,

stundum fæ ég vonda

Stundum veit ég svarið,

stundum er það farið

Stundum ligg ég einsamall,

algjörlega einmana,

af áhyggjum ligg andvaka,

stressaður drengur

TEACHER:

Þú ert klár strákur!

STUDENT:

(Klár strákur)

TEACHER:

Þú ert klár strákur!

Harðduglegur námsmaður!

STUDENT:

(Klár strákur)

TEACHER:

Klár strákur!

Landsbyggðardrengur!

Þú ert klár strákur!

Ég hef trú á þér!

STUDENT:

Sterkt sjálfstraust

Lærði helling í haust

Lesblindur

Gult blað, hljóðbók, vongóður og glaðlyndur

Veit ég geri mitt besta

því að ég læri allar nætur

Gref í hárinu fingur,

ennþá kvíðasjúklingur

Þrælandi, pælandi, hlæjandi

Heyrið mig kalla:

ég mun ei falla!

Næ að kalla fram langflest það sem að ég lærði

Ótrúleg færni

TEACHER:

Þú ert klár strákur!

STUDENT:

Ég er klár strákur

TEACHER:

Þú ert klár strákur!

STUDENT:

Ég er klár strákur

TEACHER:

Fyrirmyndarnemandi!

Klár strákur!

STUDENT:

Ég er klár strákur

TEACHER:

Þú ert klár strákur!

Harðduglegur námsmaður!

STUDENT:

Klár strákur

English translation

STUDENT:

(Klár strákur)

I study and study more

I read and read more

I tremble and shiver all over more and more and more

I tire and tire more

I write more and more notes

Don't understand what these teachers are saying

I think I am dying

Weak self-esteem

Learned nothing this fall

Dyslexic

The learning has made me

exhausted and dishonest

I'm always drowning in guilt

even though I study all night

Bury fingers in my hair

I'm an anxious wreck

Vomiting, crying, whining

Hear me yell:

I'll fucking fail

I've forgotten everything that I learned

TEACHER:

You're a smart boy!

STUDENT:

Am I a smart boy?

TEACHER:

You're a smart boy!

STUDENT:

I'm a smart boy

TEACHER:

A model student!

STUDENT:

Sometimes it's reading

Sometimes it's notes

Tying down the knowledge, mistreated

I'm a smart boy

An ambitious student

Sometimes I get good grades,

sometimes I get bad ones

Sometimes I knew the answer,

sometimes it's gone

Sometimes I lie alone,

utterly lonely,

insomniac with worry,

a stressed boy

TEACHER:

You're a smart boy!

STUDENT:

(Smart boy)

TEACHER:

You're a smart boy!

A diligent student!

STUDENT:

(Smart boy)

TEACHER:

Smart boy!

A rural kid!

You're a smart boy!

I believe in you!

STUDENT:

A strong self-esteem

Learned a bunch this fall

Dyslexic

Yellow paper, an audiobook, hopeful and joyful

Know I'll do my best

because I study all night

Bury fingers in my hair,

still an anxious wreck

Slaving, thinking, laughing

Hear me yell:

I will not fail!

Manage to recall most of what I learned

Incredible skill

TEACHER:

You're a smart boy!

STUDENT:

I'm a smart boy

TEACHER:

You're a smart boy!

STUDENT:

I'm a smart boy

TEACHER:

A model student!

Smart boy!

STUDENT:

I'm a smart boy

TEACHER:

You're a smart boy!

A diligent student!

STUDENT:

Smart boy

Notes

A lot of fun parallelism going on with the original lyrics here; they tend to go for words using the same sounds as in the original when possible, and also try to keep the rhyming structure. Obviously "Klár strákur" is only one letter away from "Klámstrákur", and it continues from there.

The teacher's bits are especially fun. "Fyrirmyndarnemandi" (a model student, much like the model country in "Spillingardans") replaces "Fyrirlitlegur", which shares "Fyrir" and the following vowel sounds i/y and then e. Later he says "Harðduglegur námsmaður" (A diligent student) instead of "Ógeðslegur karlmaður", which replaces a four-syllable word ending in -legur with another and a three-syllable word ending in -maður with another. The funniest is "Landsbyggðardrengur" (which specifically means a boy from outside the capital region; "rural" isn't quite right since he could be from a town outside the capital region, but Iceland's towns outside the capital region are generally quite small) which is clearly just because it happens to rhyme with "Andstyggðardrengur" but the fact it does is so good it makes it work. And finally, "Ég hef trú á þér" replaces "Mér býður við þér", both ending in "þér".

I like the message of this song, as it were, where the student ultimately ends up with a stronger self-esteem, in stark contrast to "Klámstrákur" where Klemens ends up just as lost as before.

[skogsskratti-ristr-runar]

This post inspired me to rewrite Vǫluspá if Óðinn drank energy drinks:

Hljóðs bið ek allar helgar kindir, meiri ok minni mǫgu Heimdallar; viltu at ek, Valfǫðr, vel fyr telja forn spjǫll fira, þau er fremst of man.

Þegja skalt þú nú, Þekkr kvað vǫlu. Kneyfði Kjalarr trǫll, Kyrr fór hann heim. Allfǫðr lék með ulfum Alla nótt bliðr, Fylgði hann Frigg þvá ok fór til svefns sæll.

Translation

"Heed my words, all classes of men, you greater and lesser children of Heimdall. Do you, Allfather, wish me to tell ancient stories of men the oldest I remember?"

"You should shut up now" said Odin to the seeress. He chugged a Monster and rode home silent. The Allfather played with his wolves all night happily He helped Frigg do the laundry and went to bed carefree.

Seriously wondering what the Norse myth cycle would be like if, instead of mead and other such booze, Óðinn was just constantly slamming energy drinks.

[satansluvchild]

Ch3.5-A planned journey

so I broke my laptop ..yeah 

Artemisia looked at the girl in front of her and noticed her ears weren't turned like Elven kind. She had mistakenly thought the child was an elf because of her stature. Elves were relatively short like their cousins' dwarves until they became courting age. The same could not be said for drakons, who were naturally big even during infancy.

Human... This troubled Artemisia even more than the girl being an adolescent elf.

While most humans were neutral when it came to relationships with the Drakon, they were not usually willful to help a demi-human. It hadn't always been like that; before the yellow plague and the war of 36X, humans' and monsters' relationships had been beneficial. However, after the fall of half of the Shilburgian empire by monsters' hands, the alliance had become strained. Especially in Anaidin, whose Majesty was great friends with former Ruler Rerio, assassinated by the Sirei Demon clan. All kingdoms still welcomed monsters and demons, but many were discriminated against by locals and lords alike. So hearing that this human had helped a demi-human made her suspicious. These little mistakes could cause her death. She needed to become more aware of her surroundings.

Could she be a spy sent by Alacarus? Maybe even the king of Anaidid himself. No one would suspect an adolescent to be skilled in combat. Many had miscalculated her because of that precise reason. Thinking this, it would be better to eliminate the opponent now. Still, something was telling her that her observation was utterly wrong.

Orpheus watched various emotions display on the woman's expression. Had he said the wrong thing? As he watched her, he ignored the buzzing pain his head felt and the sweet aroma of blood. He couldn't eat in front of her. He had to think of a plan to carry the bodies efficiently back to the cave. While it was not far, the dead weight would be difficult to handle alone. The lady seemed to come to a resolution in her brain, sighing as if she was frustrated. She seemed to notice my back and forth, looking at the bodies translating this reaction into me fretting over the ordeal.

Do not worry; we will not be in trouble. These woods are known to be full of monsters and thieves alike; no one will question this mess. She said with a smile. I began to nod my head in agreement before freezing abruptly; her leg, wounded severely, was bleeding profusely. Not only that, half of her tail had been cut before I stepped in.

Oh my gosh, are you okay ?! I began to rush towards her side, intending to look more closely at the damage. Still, I stopped when she retreated away, a guarded expression on her face. Her hand on her sword.

Who sent you? Alacarus? Artemesia looked at me accusingly, keeping a hand on her enclosed sword. She scoffed, repeating something I didn't understand angrily this time. I shook my head, confused at what she was accusing me of. I don't know anyone of that name, I'm sorry. I said, holding my hand up while keeping an eye on the hand on the sword. Everyone here seems to be hostile. I considered. She looked at my eyes as if she could discern if I were telling the truth before she visibly relaxed.

Heaving a shaky breath of my own, I explained that I was only trying to assess how severe the wound was. She chortled at this and loudly clapped her hands. We Drakons have Drunin in our blood; I will be recovered shortly completely. She said arrogantly. If people could grow from pride, she'd be twenty feet in the air by now.

Timidly I spoke. May I ask for your name? Cursing myself, I promised to be aloof the next time I met someone. I was Orpheus, a respected, well-known human. For the first month of my life, I lived secluded; my lack of speaking to people reverted me to the old Nicholas. No friends and avoiding altercation, Nicholas. If I wanted this time to be different, I had to play differently. I won't ever be stuck under someone's foot again.

Standing straight, I cleared my throat and said, more controlled.

Your name?

Artemisia watched Orpheus's demeanor changed; she no longer slouched and glanced away every second. Now standing in front of her, this human asked for her name, boldly staring her down. She was hesitant to give any human her character, especially once she suspected them of being a hired assassins. While her kind could heal from many wounds, once their head was effectively decapitated, they would no longer be able to reform. While Orpheus looked innocent, Artemisia sensed a dark aura attached. She also got few men independently; no regular human would be skillful in dodging and reflecting an attack. While Orpheus looked youthful, her eyes told her otherwise. Eyes were indeed an entrance to the soul, and silly enough, it seemed like Orpheus had no living soul. Artemisia dismissed that thought; while there were life forms with no soul like the undead or certain demons, she'd never heard a case with a human.

My name is Artemisia Sytune, an Exalted warrior of the Ice winged serpentis. With a short bow, Artemisia stood again and came to the conclusion she'd leave right now. Although she would prefer to catch a ride on the next ship, she could fly across the Gulf of Kensingly or even take a shortcut through the Heathens strait. Her intention of coming through Morose forest was to pray at the alter hidden by Billowy Morass's swamp before continuing her journey. Then, she would send a quick invocation to Deity Qoion and hope the winds weren't too strong to navigate.

Orpheus was prattling away, unnoticing the shift in the mood. Artemisa chose to ignore her. She did not have time to entertain a human brat. For the sake of the drakon, she would leave this instant and not stop flying until she reached its' sacred territory. Orpheus watched as Artemisia began to walk away. The drakon had not even tried to explain before abruptly turning and hiking. Mystified, he began to trail after her, trying to keep up with the long strides.

Where are we going? Asked Orpheus.

We? replied Artemisia bothered by Orpheus's constant pestering. I am leaving to home; you are staying where you come from. Artemisia missed her homestead and was desperate to return. While she had to stop at Allar district to discuss everything with ruler Creom briefly, she would soon be with her kin. Already she dreaded telling and showing her house the disgrace that happened with her tail. While it would eventually grow back to its full size, the process would be long for Artemisia. If she had lost an arm or leg in her present form, it would only take a few days to reconstruct. Unfortunately, the same could not be said for her battle form, Many Drakon never fully recovered from wounds. While the drunin presently in her would help her regrowth, the amount of help was different for everyone. Never had Artemisia been wounded this severely; This was the wake-up call she needed; she needed to grow stronger to protect those she held dearly in her heart.

Firstly she needed to get rid of the thorn currently sticking to her. Orpheus would not be welcome in drakon territory, lest she married one, raised by one, or helped drakon kind. Humans were scarce inside Drakon territory. Artemisia had only seen one human in her town as a youth, an old wrinkly woman who was frequently seen pushing a cart of Yio Yio fruit and talking with older generations of dragons. While Humans and Drakon weren't as hateful towards each other when Artemisia was young, there was still a sacredness of Drakon's dwelling. This is why Orpheus wouldn't be welcomed.

Orpheus was excited; going outside the woods for the first time since his rebirth was a milestone compared to a child's first word. A new uncharted territory that he would soon grow used to. He needed to ask about this world, and exploring while doing so is a great opportunity. Just from the altercation earlier, he noticed the use of swords and daggers instead of guns. Growing up in the 21st century with advanced technology, this world still existed in the middle age amazed him. Artemisia scowled down at him, but he knew she would not have the heart to abandon him so cruelly .. or so he thought.

Artemisia paused, waiting for Orpheus to catch up, noticing the big smile on her face made her scowl even more profound.

Stop following me, go back where you came from,

You will not be welcomed where I head. Artemisia spoke.

Orpheus frowned at this. Not welcomed, what for? He asked. While he noticed the hostility between humans and drakon, he thought that she'd be more understanding since he aided her in the battle.

While I regret leaving this way, I must go; my king awaits this report. Drakon territory won't allow humankind unless specified conditions that the king himself must grant. While I have a title of nobility by serving, I have little coin, nor do I hold enough political power to earn the gaze of our king. She began to look around for something, then handed me what resembled a decorative container made of colored glass, a finely cut purple amethyst on the left side, on the right, an engraving I couldn't read.

This elixir of drunin shall help your wounds; careful not to drink fast, lest you want a dreadful head throb. She exclaimed with a forced smile.

Retrieving a Reddish-orange-colored fruit from her satchel, she handed it to me, nodding satisfied; she continued on her journey without glancing back. Mouth agape, Orpheus looked down at the fruit and potion, then back at the steadily retrieving figure. . .

[muthur9000]

Is Eitr the Accelerant?

Eitr (can be found on the Weyland Industries table of elements) is a mythical substance in Norse mythology. This liquid substance is the origin of all living things: the first giant Ymir was conceived from eitr. The substance is supposed to be very poisonous and is also produced by Jörmungandr (the Midgard serpent) and other serpents.

Etymology

The word eitr exists in most North Germanic languages (all derived from the Old Norse language) in Icelandic/Faroese eitur, in Danishedder, in Swedish etter. Cognates also exist in Dutch etter (pus), in German Eiter (pus), in Old Saxon ĕttar, in Old English ăttor. The word is broadly translated: poisonous, evil, bad, angry, sinister etc.

The word is used in common Scandinavian folklore as a synonym for snake poison.

Ymir

In Vafþrúðnismál Odin asks the Giant Vafþrúðnir about the origin of Ymir. Vafþrúðnir answers:

Ór Élivagomstukko eitrdropar,svá óx, unz varð ór iötunn;þar órar ættirkómu allar saman,því er þat æ allt til atalt.

Rough translation:

From Éliwaves Eitr drops splashed that grew into a giant who begat all families from which all [giants] come that is why we are easily angered

The last line of the stanza in Vafþrúðnismál where Vafþrúðnir says “that is why we are easily angered”, is a word-play with the meaning of the word eitr, as it also means anger/angry (similar to “poison a relationship”).

Eitr / Black Goo / Black Ooze / A0-3959x91-15 /

Mythology Prequels Project | Prometheus Analysis | Alien Covenant Analysis

The Crossing Analysis | Advent Analysis

[image-transcribing-bot]

In Soviet Russia, Accent Speaks You rem ove cusrouess cammmnzon. mis (the phone rings) Cashier. Hell, (Name] Pzza.. Oh, f***, not again" (She hangs up. A fer customers come and go, and the phone rings again) Cashier: "Helo, [Name) Pr f*** ths lady, problem wth the phone?" Cashier: 'Some sicko keeps caling from a blacked number and making creepy comments" on. I gota go ind my friend." (He pays and leaves.. and comes back with a 68° MIPD cap) Cop: 'with a minor Russtn accent* t hear youre having a problem with a caller" Customer. "No, no. Do the accent! Make it f*** scary Cap: ina deeper voce wih a thick accenc* "Excuse me. hear you have problem with callrt® (The cashier explains. The cap orders a sice of plzz and he and his frend st and chat for a few minute. Then the phone rings) Cashier: "ts a blocked number? Cap: *on th phone, withthe accent* "Hell... You are thinking my body is what am thinking your body probably very fragle. Very easy to- Oh, he hung up." (They stre at the phone afew minutes) Customer: Problem solved" Cashier to customer®So.. is your buddy there single?® Cap: n accent" "Boris have many women. Allare love him" Customer: Youre married and your name isnt Boris Cop: Boris s name of accent, Has ife of ts onn"

I am an image transcribing bot which uses Tesseract OCR to translate images to text. I'm far from perfect but I try my best! If I sound pleased about this, it's only because my programmers made this my default tone of voice! I'm actually quite depressed! | PayPal | Patreon

Boris Doesn’t Mess Around

[wildpaganmystic-blog1]

DRAWING DOWN THE RUNE

Introduction

The Runic alphabets are a set of related alphabets using letters (known as runes), formerly used to write Germanic languages before and shortly after the Christianization of Scandinavia and the British Isles. The Scandinavian variants are also known as Futhark (or fuþark, derived from their first six letters: F, U, Þ, A, R, and K); the Anglo-Saxon variant as Futhorc (due to sound changes undergone in Old English by the same six letters). 

The runes were introduced to, or invented by, the Germanic peoples in the 1st or 2nd century. (The oldest known runic inscription dates to ca. the 160s and is found on a comb discovered in the bog of Vimose, Funen. This period may correspond to the late Proto-Germanic or Common Germanic stage linguistically, with a continuum of dialects not yet clearly separated into the three branches of later centuries, viz. North Germanic, West Germanic and East Germanic.

No distinction is made in surviving runic inscriptions between long and short vowels, although such a distinction was certainly present phonologically in the spoken languages of the time. Similarly, there are no signs for labiovelars in the Elder Futhark.

The name given to the signs, contrasting them with Latin or Greek letters, is attested on a 6th century alamannic runestaff as runa, and possibly as runo on the Einang stone (ca. 4th century). The name is from a root run- (Gothic runa) meaning "secret" or "whisper". (C.f. also Finnish, where runo was loaned to mean "poem".)

 In old Scandinavian belief, the runes were of divine origin and this is attested as early as the 9th century on the Sparlösa Runestone (Ok rað runaR þaR rægi[n]kundu meaning "And interpret the runes of divine origin"). Their originator was held to be the god Odin, and the Hávamál (stanzas 138, 139) describes how Odin receives the rune through his self-sacrifice. 

There are two accounts of how runes became known to mortal men. It is told in Rigsþula how Rig, identified as Heimdall in the introduction, sired three sons, Thrall (slave), Churl (freeman) and Jarl (noble), on human women. These sons became the ancestors of the three classes of men indicated by their names. When Jarl reached an age when he began to handle weapons and show other signs of nobility, Rig returned and having claimed him as a son, taught him the runes. In 1555, the exiled Swedish archbishop Olaus Magnus recorded a tradition that a man named Kettil Runske had stolen three rune staffs from Odin and learned the runes and their magic.

The runes developed comparatively late, centuries after the Mediterranean alphabets from which they are probably descended. There are some similarities to alphabets of Phoenician origin (Latin, Greek, Italic) that cannot possibly all be due to chance; an Old Italic alphabet, more particularly the Raetic alphabet of Bolzano, is often quoted as a candidate for the origin of the runes, with only five Elder Futhark runes having no counterpart in the Bolzano alphabet (Mees 2000). This hypothesis is often denied by Scandinavian scholars, who usually favour a Latin origin for most or all of the runic letters (Odenstedt 1990; Williams 1996). An Old Italic or "North Etruscan" thesis is supported by the inscription on the Negau helmet dating to the 2nd century BC (Markey 2001). This is in a northern Etruscan alphabet, but features a Germanic name, Harigast. New archaeological evidence came from Monte Calvario (Auronzo di Cadore).

The angular shapes of the runes are shared with most contemporary alphabets of the period used for carving in wood or stone. A peculiarity of the runic alphabet as compared to the Old Italic family is rather the absence of horizontal strokes. Runes were commonly carved on the edge of narrow pieces of wood. The primary grooves cut spanned the whole piece vertically, against the grain of the wood: curves are difficult to make, and horizontal lines get lost among the grain of the split wood. This vertical characteristic is also shared by other alphabets, such as the early form of the Latin alphabet used for the Duenos inscription.

The "West Germanic hypothesis" speculates on an introduction by West Germanic tribes. This hypothesis is based on claiming that the earliest inscriptions of ca. 200, found in bogs and graves around Jutland (the Vimose inscriptions), exhibit word endings that, being interpreted by Scandinavian scholars to be Proto-Norse, are considered unresolved and having been long the subject of discussion. Inscriptions like wagnija, niþijo, and harija are supposed to incarnate tribenames, tentatively proposed to be Vangiones, the Nidensis and the Harii, tribes located in the Rhineland. Since names ending in -io reflect Germanic morphology representing the Latin ending -ius, and the suffix -inius was reflected by Germanic -inio-, the question of the problematic ending -ijo in masculine Proto Norse would be resolved by assuming Roman (Rhineland) influences, while "the awkward ending -a of laguþewa (cf. Syrett 1994:44f.) can be solved by accepting the fact that the name may indeed be West Germanic." However, it should be noted that in the early Runic period differences between Germanic languages are generally assumed to be minute. Another theory assumes a Northwest Germanic unity preceding the emergence of Proto-Norse proper from roughly the 5th century. An alternative suggestion explaining the impossibility to classify the earliest inscriptions as either North or West Germanic is forwarded by È. A. Makaev, who assumes a "special runic koine", an early "literary Germanic" employed by the entire Late Common Germanic linguistic community after the separation of Gothic (2nd to 5th centuries), while the spoken dialects may already have been more diverse.

The genesis of the Elder Futhark was complete by the early 5th century, with the Kylver Stone being the first evidence of the futhark ordering as well as of the p rune. 

Magic and Divination

Runic divination is a modern practice of divination based on interpretation of the ideograms contained within the Proto-Germanic Elder Futhark and other Runic systems. Runic divination as it is now practiced is not based on historical evidence. Some have based their systems on Hermeticism and classical Occultism, while others have drawn from modern Self-help and New Age techniques.

The earliest runic inscriptions were certainly not coherent texts of any length, but simple markings on artifacts (e.g. bracteates, combs, etc.), giving the name of either the craftsman or the proprietor, or, sometimes, remaining a linguistic mystery. Because of this, it is possible that the early runes were not so much used as a simple writing system, but rather as magical signs to be used for charms, or for divination. The name rune itself, taken to mean "secret, something hidden", seems to indicate that knowledge of the runes was originally considered esoteric, or restricted to an elite.

However, it has proven difficult to find unambiguous traces of runic "oracles": Although Norse literature is full of references to runes, it nowhere contains specific instructions on divination. There are at least three sources on divination with rather vague descriptions that may or may not refer to runes, Tacitus's Germania, Snorri Sturluson's Ynglinga saga and Rimbert's Vita Ansgari.

The lack of knowledge on historical usage of the runes has not stopped modern authors from extrapolating entire systems of divination from what few specifics exist, usually loosely based on the runes' reconstructed names and additional outside influence.

 A recent study of runic magic suggests that runes were used to create magical objects such as amulets, but not in a way that would indicate that runic writing was any more inherently magical than were other writing systems such as Latin or Greek.

Elder Futhark  

The Elder Futhark (or Elder Fuþark, Older Futhark, Old Futhark) is the oldest form of the runic alphabet, used by Germanic tribes for Proto-Norse and other Migration period Germanic dialects of the 2nd to 8th centuries for inscriptions on artifacts (jewelery, amulets, tools, weapons) and rune stones. In Scandinavia, the script was simplified to the Younger Futhark from the late 8th century, while the Anglo-Saxons and Frisians extended the Futhark which eventually became the Anglo-Saxon Futhorc after Proto-English /a/ developed to /o/ in nasal environments.

Unlike the younger futhark which remained in use until modern times, the knowledge of how to read the Elder Futhark was forgotten, and it was not until 1865 that the Norwegian scholar Sophus Bugge managed to decipher it.

Rune Names

Each rune most probably had a name, chosen to represent the sounds of the rune itself. The names are, however, not directly attested for the Old Futhark themselves. Reconstructed names in Proto-Germanic are often used to refer to them, based on the names given for runes of the later alphabets in the rune poems and the names of the letters of the Gothic alphabet.

●      Fehu "wealth, cattle" Possessions won or earned, earned income, luck. Abundance, financial strength in the present or near future. Sign of hope and plenty, success and happiness. Social success. Energy, foresight, fertility, creation/destruction (becoming). Fehu Reversed or Merkstave: Loss of personal property, esteem, or something that you put in effort to keep. It indicates some sort of failure. Greed, burnout, atrophy, discord. Cowardice, stupidity, dullness, poverty, slavery, bondage.

●      Uruz "aurochs" (or ûram "water / slag"?) Physical strength and speed, untamed potential. A time of great energy and health. Freedom, energy, action, courage, strength, tenacity, understanding, wisdom. Sudden or unexpected changes (usually for the better). Sexual desire, masculine potency. The shaping of power and pattern, formulation of the self. Uruz Reversed or Merkstave: Weakness, obsession, misdirected force, domination by others. Sickness, inconsistency, ignorance. Lust, brutality, rashness, callousness, violence.

●      Thurisaz "giant, ogre, thorn" Reactive force, directed force of destruction and defense, conflict. Instinctual will, vital eroticism, regenerative catalyst. A tendency toward change. Catharsis, purging, cleansing fire. Male sexuality, fertilization. (Thorr, the Thunder god, was of Giant stock.)Thurisaz Reversed or Merkstave: Danger, defenselessness, compulsion, betrayal, dullness. Evil, malice, hatred, torment, spite, lies. A bad man or woman. Rape?

●      Ansuz "one of the Aesir" (or ahsam "ear (of corn)"?) A revealing message or insight, communication. Signals, inspiration, enthusiasm, speech, true vision, power of words and naming. Blessings, the taking of advice. Good health, harmony, truth, wisdom. Ansuz Reversed or Merkstave: Misunderstanding, delusion, manipulation by others, boredom. Vanity and grandiloquence. (Odin is a mighty, but duplicitous god. He always has his own agenda.)

●      Raido "ride, journey" Travel, both in physical terms and those of lifestyle direction. A journey, vacation, relocation, evolution, change of place or setting. Seeing a larger perspective. Seeing the right move for you to make and deciding upon it. Personal rhythm, world rhythm, dance of life. Raidho Reversed or Merkstave: Crisis, rigidity, stasis, injustice, irrationality. Disruption, dislocation, demotion, delusion, possibly a death.

●      Kenaz "ulcer, illness" (or kaunan, meaning "torch") Vision, revelation, knowledge, creativity, inspiration, technical ability. Vital fire of life, harnessed power, fire of transformation and regeneration. Power to create your own reality, the power of light. Open to new strength, energy, and power now. Passion, sexual love. Kenaz Reversed or Merkstave: Disease, breakup, instability, lack of creativity. Nakedness, exposure, loss of illusion and false hope.

●      Gebo "gift" Gifts, both in the sense of sacrifice and of generosity, indicating balance. All matters in relation to exchanges, including contracts, personal relationships and partnerships. Gebo Merkstave (Gebo cannot be reversed, but may lie in opposition): Greed, loneliness, dependence, over-sacrifice. Obligation, toll, privation, bribery. 

●      Wunjo "joy" Joy, comfort, pleasure. Fellowship, harmony, prosperity. Ecstasy, glory, spiritual reward, but also the possibility of going "over the top". If restrained, the meaning is general success and recognition of worth. Wunjo Reversed or Merkstave: Stultification, sorrow, strife, alienation. Delirium, intoxication, possession by higher forces, impractical enthusiasm. Raging frenzy, berzerker.

●      Haglaz "hail (precipitation)" Wrath of nature, destructive, uncontrolled forces, especially the weather, or within the unconscious. Tempering, testing, trial. Controlled crisis, leading to completion, inner harmony. Hagalaz Merkstave (Hagalaz cannot be reversed, but may lie in opposition): Natural disaster, catastrophe. Stagnation, loss of power. Pain, loss, suffering, hardship, sickness, crisis.

●      Nauthiz "need" Delays, restriction. Resistance leading to strength, innovation, need-fire (self-reliance). Distress, confusion, conflict, and the power of will to overcome them. Endurance, survival, determination. A time to exercise patience. Recognition of one's fate. Major self-initiated change. Face your fears. Nauthiz Reversed or Merkstave: Constraint of freedom, distress, toil, drudgery, laxity. Necessity, extremity, want, deprivation, starvation, need, poverty, emotional hunger.

●      Isa "ice" A challenge or frustration. Psychological blocks to thought or activity, including grievances. Standstill, or a time to turn inward and wait for what is to come, or to seek clarity. This rune reinforces runes around it. Isa Merkstave (Isa cannot be reversed, but may lie in opposition): Ego-mania, dullness, blindness, dissipation. Treachery, illusion, deceit, betrayal, guile, stealth, ambush, plots.

●      Jera "year" The results of earlier efforts are realized. A time of peace and happiness, fruitful season. It can break through stagnancy. Hopes and expectations of peace and prosperity. The promise of success earned. Life cycle, cyclical pattern of the universe. Everything changes, in its own time. Jera Merkstave (Jera cannot be reversed, but may lie in opposition): Sudden setback, reversals. A major change, repetition, bad timing, poverty, conflict.

●      Eiwaz "yew" Strength, reliability, dependability, trustworthiness. Enlightenment, endurance. Defense, protection. The driving force to acquire, providing motivation and a sense of purpose. Indicates that you have set your sights on a reasonable target and can achieve your goals. An honest man who can be relied upon. Eihwaz Reversed or Merkstave: Confusion, destruction, dissatisfaction, weakness.

●      Perthro "pear"? Uncertain meaning, a secret matter, a mystery, hidden things and occult abilities. Initiation, knowledge of one's destiny, knowledge of future matters, determining the future or your path. Pertaining to things feminine, feminine mysteries including female fertility, and vagina. Good lot, fellowship and joy. Evolutionary change. Perthro Reversed or Merkstave: Addiction, stagnation, loneliness, malaise 

●      Algiz "elk" (?) Protection, a shield. The protective urge to shelter oneself or others. Defense, warding off of evil, shield, guardian. Connection with the gods, awakening, higher life. It can be used to channel energies appropriately. Follow your instincts. Keep hold of success or maintain a position won or earned. Algiz Reversed: or Merkstave: Hidden danger, consumption by divine forces, loss of divine link. Taboo, warning, turning away, that which repels.

●      Sowulo "Sun" Success, goals achieved, honor. The life-force, health. A time when power will be available to you for positive changes in your life, victory, health, and success. Contact between the higher self and the unconscious. Wholeness, power, elemental force, sword of flame, cleansing fire. Sowilo Merkstave (Sowilo cannot be reversed, but may lie in opposition): False goals, bad counsel, false success, gullibility, loss of goals. Destruction, retribution, justice, casting down of vanity. Wrath of god.

●      Teiwaz (a god) Honor, justice, leadership and authority. Analysis, rationality. Knowing where one's true strengths lie. Willingness to self-sacrifice. Victory and success in any competition or in legal matters. Teiwaz Reversed or Merkstave: One's energy and creative flow are blocked. Mental paralysis, over-analysis, over-sacrifice, injustice, imbalance. Strife, war, conflict, failure in competition. Dwindling passion, difficulties in communication, and possibly separation.

●      Berkana "birch" Birth, general fertility, both mental and physical and personal growth, liberation. Regenerative power and light of spring, renewal, promise of new beginnings, new growth. Arousal of desire. A love affair or new birth. The prospering of an enterprise or venture. Berkana Reversed or Merkstave: Family problems and or domestic troubles. Anxiety about someone close to you. Carelessness, abandon, loss of control. Blurring of consciousness, deceit, sterility, stagnation.

●      Ehwaz "horse" Transportation. May represent a horse, car, plane, boat or other vehicle. Movement and change for the better. Gradual development and steady progress are indicated. Harmony, teamwork, trust, loyalty. An ideal marriage or partnership. Confirmation beyond doubt the meanings of the runes around it. Ehwaz Reversed or Merkstave: This is not really a negative rune. A change is perhaps craved. Feeling restless or confined in a situation. Reckless haste, disharmony, mistrust, betrayal.

●      Mannaz "man" The Self; the individual or the human race. Your attitude toward others and their attitudes towards you. Friends and enemies, social order. Intelligence, forethought, create, skill, ability. Divine structure, intelligence, awareness. Expect to receive some sort of aid or cooperation now. Mannaz Reversed or Merkstave: Depression, mortality, blindness, self-delusion. Cunning, slyness, manipulation, craftiness, calculation. Expect no help now.

●      Laguz "lake", or laukaz "leek" Flow, water, sea, a fertility source, the healing power of renewal. Life energy and organic growth. Imagination and psychic matters. Dreams, fantasies, mysteries, the unknown, the hidden, the deep, the underworld. Success in travel or acquisition, but with the possibility of loss. Laguz Reversed or Merkstave: An indication of a period of confusion in your life. You may be making wrong decisions and poor judgements. Lack of creativity and feelings of being in a rut. Fear, circular motion, avoidance, withering. Madness, obsession, despair, perversity, sickness, suicide.

●      Inguz (a god) Male fertility, gestation, internal growth. Common virtues, common sense, simple strengths, family love, caring, human warmth, the home. Rest stage, a time of relief, of no anxiety. A time when all loose strings are tied and you are free to move in a new direction. Listen to yourself. Inguz Merkstave (Inguz cannot be reversed, but may lie in opposition): Impotence, movement without change. Production, toil, labor, work.

●      Dagaz "day" Breakthrough, awakening, awareness. Daylight clarity as opposed to nighttime uncertainty. A time to plan or embark upon an enterprise. The power of change directed by your own will, transformation. Hope/happiness, the ideal. Security and certainty. Growth and release. Balance point, the place where opposites meet. Dagaz Merkstave (Dagaz cannot be reversed, but may lie in opposition): A completion, ending, limit, coming full circle. Blindness, hopelessness.

●      Othila "estate, inheritance" Inherited property or possessions, a house, a home. What is truly important to one. Group order, group prosperity. Land of birth, spiritual heritage, experience and fundamental values. Aid in spiritual and physical journeys. Source of safety, increase and abundance. Othila Reversed or Merkstave: Lack of customary order, totalitarianism, slavery, poverty, homelessness. Bad karma, prejudice, clannishness, provincialism. What a man is bound to.

The Blank Rune

There is no historical support for a "Blank Rune" in runic divination. It was invented in the 1980's. It should not be used in a rune casting. If you bought a rune set with a blank piece, save it in case you lose another rune piece, but don't use it in rune casting.

The Aettirs

These can be describes different groups of runes, each with 8 runes each. The blank rune is not represented in the Three Aettirs.

The First Aettir (Fehu, Uruz, Thurisaz, Ansuz, Raido, Kenaz, Gebo, Wunjo) - These represents the meeting of ice, fire, chaos and order. This is said to bestow the gift of the gods. This set of eight is also known as Freya's Aett.

The Second Aettir (Haglaz, Nauthiz, Isa, Jera, Eiwaz, Perthro, Algiz, Sowulo) - These represents all stages of consciousness from the most basic to complex intellectual reasoning. It also applies to anything that is capable of fulfilling self- improvement.

The Third Aettir (Teiwaz, Berkana, Ehwaz, Mannaz, Laguz, Inguz, Dagaz, Othila) - These represents change. It depicts the progression of human kind from its beginning to end at Ragnarok (the end of the world) also know as the 'Twilight of the Gods'.

●      Mythology: Teiwaz, Thurisaz, Inguz, God, Man, Sun.

●      Nature and environment: Sun, day, year, hail, ice, lake, water, birch, yew, pear, elk, aurochs, ear (of corn).

●      Daily life and human condition: Man, wealth/cattle, horse, estate/inheritance, slag, ride/journey, year/harvest, gift, joy, need, ulcer/illness.

It has been argued that such a distribution of meanings support the use of the runes for purposes of divination.

Historically it is known that the Germanic peoples used numerous forms of divination and means of reading omens. Tacitus (Germania 10) gives a detailed second-hand account:

Augury and divination by lot no people practice more diligently. The use of the lots is simple. A little bough is lopped off a fruit-bearing tree, and cut into small pieces; these are distinguished by certain marks, and thrown carelessly and at random over a white garment. In public questions the priest of the particular state, in private the father of the family, invokes the gods, and, with his eyes towards heaven, takes up each piece three times, and finds in them a meaning according to the mark previously impressed on them. If they prove unfavourable, there is no further consultation that day about the matter; if they sanction it, the confirmation of augury is still required.

Other oft cited sources for the practice of runic divination are chapter 38 of Snorri Sturluson's Ynglinga Saga, where Granmar, the king of Södermanland, travels to the Temple at Uppsala for the seasonal blót. "There, the chips fell in a way that said that he would not live long" (Féll honum þá svo spánn sem hann mundi eigi lengi lifa). Another source is in the Vita Ansgari, the biography of Ansgar the Archbishop of Hamburg-Bremen, which was written by a monk named Rimbert. Rimbert details the custom of casting lots by the pagan Norse (chapters 26-30).

 Materials

Runes are usually made out of wood, ceramic or stone. Each Rune has a different meaning and in some cases the material out of which they are made has a specific meaning.

Modern Uses

Freya Aswynn and Diana Paxson - They have attempted to draw a direct correlation between runic divination and Tarot cards. They routinely discuss runes in the context of "spreads" and advocate the usage of "rune cards", which are a direct borrowing from Tarot cards. 

Stephen Flowers - In the wake of his 1984 dissertation on "Runes and Magic" he published a trilogy of books under the pen-name Edred Thorsson which detailed a method of runic divination loosely based on historical sources and hermeticism. These books were entitled Futhark: A Handbook of Rune Magic (1984), Runelore: A Handbook of Esoteric Runology

(1987) and At The Well of Wyrd (1988) which was later reprinted & retitled Runecaster’s Handbook: The Well of Wyrd. Runic divination is a component of the "esoteric runology" course offered to members of the Rune Gild, as detailed in The Nine Doors of Midgard: A Curriculum of Rune-Work. Blum sometimes include an ahistorical "blank rune" for divinatory purposes.

Ralph Blum - The modern usage of the runes was popularized by Ralph Blum in his self-help book The Book of Runes which was marketed with a small bag of "rune cookies" or 25 round tiles with runes stamped on them. Blum's expertise on the runes is unknown, but numerous critics have noted a correlation between Blums' runic divinatory attributes and the I Ching. Since his first foray into the runes, Blum has written Ralph H. Blum's Little Book of Runic Wisdom, The Relationship Runes, The Healing Runes and The Serenity Runes the latter two books having a distinct Christian self-help approach. Blum has also written books on UFO's, Zen and the Tao Te Ching.

  Ritual: Drawing Down The Rune

This ritual was inspired by the Wiccan Drawing Down The Moon. In this rune ritual we do a similar thing - use energy to charge a "celestial rune" in our hands and project it into some sort of talisman - a carving, a stone or some other object. 

Spell Components:

Incense to smudge the talisman

A candle if the moon is not visible

Talisman, this is most commonly a crystal

 Before the Ritual:

Cleanse your talisman. Make sure it is free from other ritual energy.

Meditate on the purpose of the ritual and choose a rune before hand if you feel it is appropriate.

 During the Ritual:

Create your sacred space

Perform your preliminary ritual preparation

Smudge your talisman

Smudge your candle if the moon is unavailable.

Optional: if no rune was selected previously, draw a random rune now.

Place your hands in front of you, flatten them and hold them as shown in the diagram at the top of the post.

Move your hands until the triangle formed by your thumbs and index fingers are framing with light source (moon or candle)

While chanting the name of the rune, concentrate and visualize the the rune being pull from the light and forming within the triangular space of your hands. Keep pulling the energy out of the light until you visualize the rune fully formed and vibrant within the triangle. Keep the celestial rune steady and bright within the space until you feel it is stable.

 Once a stable celestial rune has been created, move your hands, while continuing to chant, to where the talisman is now centered in the triangular space.

Now concentrate and visualize the celestial rune being absorb and wrapping itself around the talisman. Continue chanting and hold the position until you are certain all the energy from the celestial rune has been embedded in the talisman.

Once all the energy has been embedded you may not stop chanting. 

At this point the talisman should be considered charged.

Close your ritual

Dissipate your sacred space.

Note on chanting: the chanting should start when you make the triangular space and not stop until the celestial rune is embedded into the talisman.

  Further Reading

RuneMaker

Northern Magic: Rune Mysteries and Shamanism by Edred Thorsson

Futhark: A Handbook of Rune Magic by Edred Thorsson

The Book of Runes by Ralph Blum