#saxo grammaticus

[could-they-be-a-pro-wrestler]

How successful would Amleth…

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[i12bent]

Louis Moe (April 20, 1857 - 1945) was born in Norway, but settled in Copenhagen after training there at the Royal Academy. He was a prolific illustrator of fairy tales, children's books and Norse chronicles.

Above: Evening in Greenland with hunters and dogs, no year - gouache (Privately owned)

[stromuprisahat]

Saxo udává zajímavý postřeh týkající se vlaštovek, které si pod ústy sochy [Rujevíta] postavily hnízdo, což mělo vyvolat velkou veselost u Dánů: "Vlaštovky, které si vystavěly hnízda pod obrysy obličeje [sochy], totiž vypouštěly na její hruď hojné střevní nečistoty." Tito ptáci však byli považováni mezi Slovany za symbol jara- "boží posly"- a v posmrtných představách za jedno z možných zosobnění lidské duše. Proto platil přísný zákaz jejich usmrcení, jenž se porušoval pouze ve výjimečných případech- srdce vlaštovky prý patřilo k prostředkům, které dokázaly roznítit milostnou touhu. ~ Saxo makes an interesting observation regarding the swallows that built their nest under the mouth of the statue [of Ruyevit], which was to cause great mirth among the Danes: "For the swallows that built their nests under the contours of the face [of the statue] discharged abundant intestinal impurities on its chest. " However, these birds were considered among the Slavs as a symbol of spring - "messengers of gods" - and in images of afterlife, as one of the possible incarnations of the human soul. That is why there was a strict ban on killing them, which was violated only in exceptional cases - the swallow's heart was said to be one of the means that could ignite amorous desire.

Bohové dávných Slovanů ~ Gods of ancient Slavs (Martin Pitro, Petr Vokáč)

Swallows as a symbol of spring remained in Czech folklore.

[brasideios]

Then for a little interval he [Ragnar] rested from wars, and chanced to fall deeply in love with a certain woman. In order to find some means of approaching and winning her the more readily, he courted her father (Esbern) by showing him the most obliging and attentive kindness. He often invited him to banquets, and received him with lavish courtesy. When he came, he paid him the respect of rising, and when he sat, he honoured him with a seat next to himself. He also often comforted him with gifts, and at times with the most kindly speech. 

The man saw that no merits of his own could be the cause of all this distinction, and casting over the matter every way in his mind, he perceived that the generosity of his monarch was caused by his love for his daughter, and that he coloured this lustful purpose with the name of kindness. But, that he might balk the cleverness of the lover, however well calculated, he had the girl watched all the more carefully that he saw her beset by secret aims and obstinate methods. But Ragnar, who was comforted by the surest tidings of her consent, went to the farmhouse in which she was kept, and fancying that love must find out a way, repaired alone to a certain peasant in a neighbouring lodging. In the morning he exchanged dress with the woman, and went in female attire, and stood by his mistress as she was unwinding wool. Cunningly, to avoid betrayal, he set his hands to the work of a maiden, though they were little skilled in the art. In the night he embraced the maiden and gained his desire.

When her time drew near, and the girl growing big, betrayed her outraged chastity, the father, not knowing to whom his daughter had given herself to be defiled, persisted in asking the girl herself who was the unknown seducer. She steadfastly affirmed that she had had no one to share her bed except her handmaid, and he made the affair over to the king to search into. He would not allow an innocent servant to be branded with an extraordinary charge, and was not ashamed to prove another's innocence by avowing his own guilt. By this generosity he partially removed the woman's reproach, and prevented an absurd report from being sown in the ears of the wicked. Also he added, that the son to be born of her was of his own line, and that he wished him to be named Ubbe.

When this son had grown up somewhat, his wit, despite his tender years, equalled the discernment of manhood. For he took to loving his mother, since she had had converse with a noble bed, but cast off all respect for his father, because he had stooped to a union too lowly. 

from the Gesta Danorum, Saxo Grammaticus.

Thinking about Ubba again. It’s always dangerous dipping back into my caps!

[gaykarstaagforever]

I'm reading an 1898 English translation of the 16th century Latin edition of what was at the time the last surviving cobbled-together copy of Saxo Grammaticus's History of the Danes (originally written in Ecclesiastical Latin).

Being that it was 1898 and these people had to be goofballs about everything, they did it in fakey King James English. And I guess they tried to maintain the Latin sentence structure, because every sentence is a paragraph long.

All that as it is, Saxo's preface to this is still 80% him warning the reader that he sucks at writing and doesn't really know what he's doing. But that even by 1208, the Danes are the only people in the area without an official Latin national history, and he has to write one now so they don't look stupid to all the other relatively-recent Christian converts. Because they AREN'T stupid, their last king kicked everyone else's ass, and also, have you seen all those stones laying around with runes carved on them? The Danes have totally always been smart and awesome, they just didn't have Latin to use until recently to point that out to everyone.

Then once he's done with that, he starts detailing how they live in a rocky part of the world with garbage farm land that floods all the damn time, and also Iceland has hot springs and this kick-ass volcano you should all totally go check out.

This is from 800 years ago, in Church Latin, and it's like a printed copy of some weird guy's website from 2005.

Note this is the same work where Shakespeare probably got the original Hamlet story from.

[cursecuelebre]

Top Recommendations for Norse Pagans that aren’t Problematic.

There is a lot of books by people who are racist and part of far right side of Heathenry and I’m going to try my best and list the books I have that helped me on my path that isn’t problematic and have questionable intentions. Books and YouTube channels.

Anglo Saxon Socerery and Magic by Alaric Albertson. He is very knowledgeable in his work and path especially on runes which includes the rune poem to make your own interpretation and witchcraft side of things. He even talks about the Elves which I appreciate because not a lot of Norse authors talk about them. It’s more Germanic than Norse but I can’t see any problem adopting certain aspects since they are very similar. I will say he does take himself a bit serious at times but his information is so good and worthwhile. I have not read his first book on Travels through middle earth but it focus on more the pagan side.

Poetic Edda and Prose Edda: it’s what every Norse pagan needs. It’s the foundation of Norse paganism not bibles but myths and tales that can help along our journey. There is tons of translations, but my favorites are Dr. Jackson Crawford Poetic Edda and Anthony Fawkes Prose Edda. But look into other sagas as well like Volsung which Dr Jackson Crawford also wrote about.

Beowulf. More of a Germanic tale but again includes it has roots of Germanic sorcery, traditions, religion like the concept of Wyrd (Fate), the runes, and values within his society like loyalty and mythical creatures. Again there is many translations even Jrr Tolkien did a incompleted version of Beowulf but I think Tom Shippey finished that version I could be wrong. Nonetheless explore more than one, the oneI have is by Seamus Heaney.

Grimm Fairy Tales this mostly German Folklore but it’s still quite important to learn about in German folk magic, creatures and entities in German folklore tends to be very real to the practitioner in their spellwork.

The Way of Fire and Ice by Ryan Smith a very progressive outlook in Norse paganism, he talks about creating communities in Norse paganism and calling out and denouncing Nazis in the community how Norse Paganism is inclusive and how to be open to all types of people. But he has a beginner approach to the deities, beliefs, values within Norse paganism.

Look into a lot of academic sources that’s where you will find a lot of information on Norse paganism and religions.

Tacitus Germania - A Roman historian talking about the Germanic tribes their culture and customs.

Saxo Grammaticus history of the Danes

The Viking Way by Neil Price it goes good in depths about magic in Scandinavia like Seidh

Dictionary of Norse Mythology a quick guide to northern myths, if you are trying to find a specific god and you don’t have time to look up in a book it’s in there with great information to each one.

Children of Ask and Elm: History of Vikings by Neil Price on Scandinavian culture during the Viking age

Some YouTube Channels

The Norse Witch: Bente lives in Germany and their channel encompasses all of Norse paganism more around magic. They do interviews with other Norse witches of folk magic like Icelandic and Danish. Even gives good book recommendations and advice on general spellwork as well!.

Dr Jackson Crawford he is an author but he also has a YouTube channel. He was a professor in Colorado on Norse culture, mythology, and language and now is a full time YouTuber. He did a series of videos on the runes which are more historically accurate. Discusses the myths and the language and what do they mean. Jackson Crawford isn’t a Norse pagan nor he doesn’t care if you are one but just letting you know he isn’t coming from a pagan perspective.

The Welsh Viking also like Jackson Crawford but still has really great knowledge on Viking culture.

De Spökenkyker who is a channel that focus on German Folk magic living in Germany who is a practicing German Folk Witch.

Please feel free to add on any recommendations that are helpful and useful to the Norse pagan Community!

[archaeos]

- Ragnar Loðbrok, c. 865 CE

snake pit snake pit it's a pit full of snakes

[salixsociety]

Germanic Paganism Resource Masterlist

Notes: - Updates will be beyond infrequent. - Feel free to pop into my ask box requesting resource recommendations at any moment. - Resources do not reflect my personal beliefs or practice. I may include otherwise great resources that include theories and ideologies I do not support (such as the 'sign of the Hammer'), because I make extensive use of cross-referencing, reflection, etc to determine everything I incorporate into my craft. - I will never consciously add resources written by (Neo-)Nazis and the like. If you spot them, feel free to let me know. - You may notice there is a seemingly disproportionate amount of sources also or primarily talking about Scandinavia and Iceland, and even some primarily covering England. This is because continental Germanic paganism has only barely survived the ravages of time, and one can only learn about it if they supplement their knowledge with the more complete pictures of Anglo-Saxon paganism and Norse paganism.

Legend: [No language identifier means the source is English.] [D] - The resource is written (primarily) in Dutch. [G] - The resource is written (primarily) in German. [ON] - The resource is written (primarily) in Old Norse. [OD] - The resource is written (primarily) in Old Dutch. [OG] - The resource is written (primarily) in Old High German. [L] - The resource is written (primarily) in Latin. [F] - The resource is written (primarily) in French. * - I have not read the resource in its entirety. ** - Read with caution. !! - There is more of the resource available/this is one part of multiple.

Historic Texts and References

Tacitus' Agricola and Germania

Tacitus' Annals

The Prose Edda

The Poetic Edda

The First Nine Books of the Danish History of Saxo Grammaticus

Contemporary Books, Essays, Other Media

Myths and symbols in pagan Europe : early Scandinavian and Celtic religions - H.R. Ellis Davidson

Kleinere Altniederdeutsche Denkmälen - Heyne [G]*

Religion and Philosophy in Germany : a Fragment - Heine *

Deutsche Volkskunde - Adolf Bach [G]*

Teutonic Mythology - Grimm

Swedish Legends and Folk Tales - John Lindow

Scandinavian Mythology : an Annotated Bibliography - John Lindow *

Trolls : an Unnatural History - John Lindow

Myths of the Norsemen from the Eddas and Sagas - H.A. Guerber

Northern mythology : comprising the principal popular traditions and superstitions of Scandinavia, North Germany, and The Netherlands - Benjamin Thorpe | VOL 1, VOL 2, VOL 3

From Myth to Fiction : the Saga of Hadingus - Georges Dumézil *

The Stakes of the Warrior - Georges Dumézil **

Gods of the Ancient Norsemen - Georges Dumézil **

Zum Tamfana-Rätsel - Edmund Weber [G]*

De Tijdstippen van de Cultische Jaarfeesten - Boppo Grimmsma [D]**

Nederlansche Volksoverleveringen en Godenleer - Van den Bergh [D, OD]*

Tales and Legends of Tyrol *

Germanic Spirituality - Bil Linzie

Handwörterbuch des Deutschen Auberglaubens - Baechtold-Staubl, Hoffman-Krayer

Goden van de Lage Landen - Gunivortus Goos [D]**

Runic and Heroic Poems of the Old Teutonic Peoples - Dickins *

Gods and Myths of Northern Europe - H.R. Ellis Davidson

Old Norse - Icelandic Literature : a Critical Guide - John Lindow

Vikings : a Very Short Introduction - Richards *

Norse Mythology : a Guide to the Gods, Heroes, Rituals and Beliefs - John Lindow

Antwoord op de Vraag, door het Zeeuwse Genootschap de Wetenschappen - te Water [D]*

Verhandelingen over het Westland, ter opheldering der Loo-en, Woerden en Hoven, benevens de natuurdienst der Batavieren en Friezen - Buddingh [D]*

De Goden der Germanen - de Vries [D]*

Norse Revival: Transformations of Germanic Neopaganism - Stefanie von Schnurbein (in the series Studies in Critical Research on Religion which I highly recommend)

Digital Libraries, Dictionaries and the Like

Digitale Bibliotheek voor Nederlandse Letteren [D]*

Digitised Collection of Historic Sources of the WWU in Münster [G, D, OD, OG]*

Oudnederlands Woordenboek [D, OD]*

Ons volksleven : tijdschrift voor taal-, volks- en oudheidkunde. Jaargang 2-12 [D]*

Het Rad - Digitale Bibliotheek voor Germaans Heidendom, Runen, Seidr [D]*

Volkskunde (search results on Delpher) [D]*

Goden van Eigen Bodem - Digitale bibliotheek voor heidens erfgoed van de lage landen [D]*

Godinnen van Nederland en België [D]**!!

Forgotten Gods - Reginheim **

The Rune Poems *

Kronieken van de Westhoek (Flemish Folk History) [D]*

Brabantse Folklore, bulletin van de provinciale dienst voor geschiedkundige en folkloristische opzoekingen [D]*

Project Gutenberg has a wealth of resources about pre-christian Germanic religion*

Mimisbrunnr.info has a wealth of information including starter guides.

Author Recommendations

J.R.W. Sinninghe [D]

John Lindow

Benjamin Thorpe

H.R. Ellis Davidson

The Grimm Brothers

J. Haver [D]

To be continued.

[city-of-ladies]

“In discussing all these diverse images of armed and actively fighting women of Old Norse literature, and in critically acknowledging that many of the accounts that concern them were created several centuries after the events, it is easy to relegate them all to the sphere of fiction and to regard them as having no basis in historical reality whatsoever. But if we turn to other medieval sources, created independently of Old Norse literary tradition and stemming from different cultural milieus, we will find within them very similar patterns of the occasional female participation in martial activities. The two case studies reviewed above – namely that of Æthelflæd of Mercia and of the women who fought in the siege of Dorostolon – strongly support the idea that there could be some reality behind the stories of armed women that survive in Old Norse literature. Also other historical women of the Viking Age, especially those who stemmed from the highest echelons of society, were occasionally compelled to engage in endeavours associated with warfare and would oversee military operations. For instance, the great Princess Olga, who was the wife of Igor of Kiev, led her army against the Slavic tribe of Derevlians, devised her own impressive strategies and through all these initiatives gained recognition among her companions, regardless of her biological sex.

It thus feels highly unlikely that all these medieval accounts, including the famed descriptions of female warriors in Saxo Grammaticus’ Gesta Danorum, were only inspired by legends of the ancient Amazons and served as curiosa and literary embellishments to entertain the audience. As we shall see in the following chapters of this book, archaeological finds from across Scandinavia provide support for the idea that some Viking Age women did wield weapons and in one way or another found their place in the martial sphere.”

Women and Weapons in the Viking World: Amazons of the North, Leszek Gardela

[adarkrainbow]

Some scholarly notes about the Grimm fairytales (1)

Recently in France (well... for the last two dozen years), the publishing house José Corti has been specializing itself in scientific fairytales collections. While for the study of literary fairytales one would go towards Honoré Champion, when it comes to folktales and fairytales it is José Corti one must check. In their "Merveilleux" collection they have been publishing for the very first time in France or republishing out-of-prints collections of various European fairytales (from Denmark, Spain, Romania, and more) - with a few classics of the "literary" fairytales that marked deeply the evolution of the genre (such as Straparola's Facetious Nights or Ludwig Bechstein's fairytales).

All of that to say, José Corti has in 2009 published the most recent scientific (but for an all-public) edition of the brothers Grimm fairytales. The full collection of their fairytales, translated accurately in French, with annotations about their type/classification, their evolution throughout editions and their predecessors. I can't share all of these annotations with you, of course, but I can share a handful of them, about the most famous stories of the Grimm. They all come from the same person who translated the story in this edition: Natacha Rimasson-Fertin. (Of course my notes might be incomplete but hey, you'll have to buy the books to see the whole thing :p Or check them out at your local library)

The devil with three golden hairs (Der Teufel mit den dre goldenen Haaren)

This story is at the crossroa between the Aa-Th 461 "Three hair from the devil's beard" ; the AT 460B "The quest for fortune" and the AT 93à "Urie's letter/The prophecy".

In the 1812 edition, there were two different versions of this tale. Story number 29 "The story of the devil with three golden hair", told by Amalia Hassenpflug, and number 75, "The phenix", told by her sister Mary. In the second version the devil was replaced by a phoenix, and the hero had to get three feathers. In the 1819 edition the two stories disappeared and were replaced by the version we know today, told by Dorothea Viehmann. Another version that the Grimms had collected in 1812 had a princess falling in love with the woodsman that cuts a tree below her window.

The final episode, where the hero asks three questions to the devil through the old woman, echoes the Pentamerone's "The Seven Doves". Other versions of this story include Asbjörnsen-Moe's "The wealthy Peter Krämer", and Afanassiev's "Marco the Wealthy and Vassili the Unfortunate". The story of the brothers Grimm gathers several references to the Bible: the child throw in the water echoes Moses' abandonment, the letter meant to kill the hero is similar to the one David uses to kill Urie, finally the hair as holders of a being's wisdom and strength is linked to the legend of Samson and Dalila. But many other elements of the story evoke older faiths. The idea of a body of water as the frontier with the Otherworld can be found in the Classical Antiquity with the Greek Charon, and is found in other stories of the volume, such as "Frau Holle" and "The Iron Stove" - it as believed that water formed an obstacle spirits could not cross. The hero's mission recalls a tale of Saxo Grammaticus where Thorkill enters Utgard (the realm of supernatural beings) to steal a hair from the beard of Utgard-loki. The brothers Grimm had noted that the belief in the exceptional fate of a child born with a "hood" was also found in Iceland, where the "caul", called Glückshaut (skin of luck) was the home of a genie that would follow the child all of his life. And indeed, modern research has proven that the name given to this caul, the "fyljia" was also the name of a spiritual double, a tutlar spirit tied to a person or a family. This is why the tradition was to preserve and hide this "pileus naturalis" - in Belgium, it was called a "hem" and its color allowed for divination rituals about the child's future.

The girl without hands (Das Mädchen ohne Hände)

This fairytale is actually a cross between the AT type 706 "The maiden without hands" and the AT 930 "Urie's letter/The prophecy". The story was created by the brothers mixing two versions from Hesse, one told by Mary Hassenpflug, the other by Dorothea Viehmann. The second version lacks this story's introduction and begins with a father trying to marry his own daughter - when she refuses, he cuts off her hands and breasts, and chases her out of his house. It then follows the story. Meanwhile, the first version differs when the heroine is with her child in the forest: an old man tells her to hug three time a tree with her arms, which makes her hands grow again. He also tells her to only open the door of her house to one who will ask to enter "for the love of God" three times in a row - the king will be forced to do this before entering.

Outside of these two main versions, the brothers Grimm collected three additional ones. In the first, the angel that guides the girl is replaced by a small light that descends from the sky ; and the hands of the girl grow back when she plunges her arms in a stream after seeing a blind mouse enter its water to regain its sight. In the second version, a man is upset at his little girl praying for him day and night, but since she refuses to stop despite his demands, he cuts off her tongue. But she prays in thought and makes the sign of the cross, so he cuts off her right hand, then her arm all the way to the elbow, before banishing her. She is saved by a hunter that hides her in his master's domain and feeds her in secret with his master's dogs. When the master discovers this, he decides to raise the girl as his own child. One day she gives money to a poor man, who tells her she will regain her arm and tongue if she goes to drink of a certain stream, and he gives her a magical staff to protect her. When she returns at the lord's house, he marries her. The third version is about a queen banished by her husband with her two children, and is identical to the legend of saint Helen.

Other international versions of the tale include Zingerle's "The pretty daughter of the innkeeper", Basile's "Penta the one-armed girl" and Afanassiev's "The young girl without hands". There are some versions where it is a man that is mutlated, such as Afanassiev's "The brave without legs and the blind brave". The roots of this story date back to the end of the 12th century, and are located in southern England - this tale was the subject of numerous literary adaptations, the most famous being the verse romance of the 13th century "The Beautiful Helen of Constantinople".

The motif of the child sold to the devil is recurring among the Grimm fairytales - even though the character of the devil can be replaced by another supernatural being, such as in "Rapunzel" or "The Nixie of the Mill-Pond". The idea of offering the first thing one sees upon returning home is as old as the Ancient Testament (Judges). This story bears the signs of a heavy Christianiation, and was clearly inspired by the legend of Saint Genevieve of Brabant, falsefely accused of being unfaithful and condemned to death with her newborn child. The executioners take pity on her and she lives alone in the woods for seven years. As with other tales from the Grimm collection, this story mixes the Christian fantasy (the hands that regrow are treated as a Christian miracle) with pagan fantasy (there are several elements of folk-magic, such as the circle the girl draws around her to be protected from the devil, or the accusations of the queen giving birth to a changeling - a changeling also appears in the third story of "The Elves", KHM 39).

The Robber Bridegroom (Der Räuberbräutigam)

This story belongs to the fairytale type Aa-Th 955, named after it: "The robber bridegroom".

The tale was told to Jacob Grimm by Mary Hassenpflug, and was present as early as the 1810 manuscript. However this first version, that the brothers deemed "incomplete" was replaced from the 1812 edition onward by a new version which mixed two versions from Lower-Hesse. The brothers noted the existence of another version where the robber indicated the road to his house to a princess, by tying ribbons around the trees.

Ludwig Bechstein took inspiration from the brothers Grimm's tale to create his own "The Robber Bridegroom". This fairytale, like "Fichter's Bird", belongs to the "Bluebeard cycle" (several tales that the brothers removed from their first edition also belonged to this cycle).

Fitcher's Bird (Fitchers Vogel)

This tale is a variation of the Aa-Th 311 "The heroine rescues herself and her sisters", usually classified under the "Bluebeard" category.

The final text of the Grimms is actually a mix of two different versions of the same story that was told to the brothers by both Friedrike Mannel and Dortchen Wild. The Grimms noted the existence of a version from Hanovre which goes as follow: a poor woodcutter asks his daughter to bring him his meal in the forest, and to show them the way he places peas on the floor. However dwarves notice this, and change the emplacement of the pea so that their path leads to their grotto. The older girl follows the peas, and become the dwarves' slave. Then we have the Bluebeard "forbidden room" motif, and the story goes as the "Fitcher's Bird" goes, as the dwarves lure the two other sisters to their cave. The last sister sticks the feathers on her body by rolling herself in blood (presumably the blood of the dwarves' victims), and there is no resurrection of the sisters. Everybody that meets her on the way call her "geputzter Vogel". The dwarves hunt the girl down and almost catch her just as she reaches her father's house - she is so fast in closing the door that it cuts a piece of her heel. The Grimms also knew of a Dutch version of the story, translated in German, and that was identical to one of their first-editions tales, "The Murder-Castle".

The translation of the name of the "bird" always caused many problems, due to the difficulty of understanding the expression. The brothers Grimm themselves explained the name of the bird by the Icelandic "Fitfuglar", meaning "birds that swim" - as such, the girl would be called "Fitchers-Vogel" because she looks like a swan". However, other people do not agree with this etymology, some linking Fitcher with "Fitze", the thread. Rimasson-Fertin highlights that the expression "Fitchers Fitze", outside of a simple sonority game, might be two variations of the male name Fritz (the diminutive of Friedrich) - other usual diminutives were Fitze, Fitz and Fiete. The brothers Grimm noted that the motif of the blood that cannot be erased was much older than Perrault's Bluebeard - it could be found as early as the "Gesta Romanorum", where a mother who had murdered her child couldn't erase three blood-drops from her hand, forcing her to wear a glove. This story must be compared to the KHM 40, "The Robber Bridegroom".

The Juniper Tree (Von dem Machandelboom)

It is the AaTh 720 "My mother killed me, my father ate me".

Just like the tale of "The Fisherman and his wife", this story was written by the painter P. O. Runge, and the brothers Grimm used it as a model for how they should present their own fairy tales. In fact, we can note sentences almost identical between the two tales.

The brothers noted a variation of the story where the stepmother places her daughter near the pot where her brother cooks, and she forbids her from looking inside. But since the pot boils too much, the girl lifts the lid - then her brother's hand reaches out to her from the cauldron. There is yet another version noted by the Grimm where there are three children, not two, and the stepmother sends them pick up strawberries in the wood, promising an apple to whoever comes back first.

The cruelty of this fairytale earned the brothers a serious criticism from Achim von Arnim - who only tolerated such violence because it echoed the one present in Goethe's Faust. The description "red as blood, white as snow" of course echoes the tale of "Snow-White". The brothers Grimm mentionned in their notes that the juniper tree was a plant believed to have the power to bring back youth - and Rölleke noted that the juniper-tree's red berries were used in folk-magic. It seems to be a very ancient tale due to several very old motifs such as the soul returning in the shape of a bird, a resurrection out of bones, and cannibalism. This tale must be compared to "Brother Lustig", "The Singing Bone" and, of course, "The Fisherman and his wife".

Briar Rose (Dornröschen)

Of course, it is the AaTh 410 "Sleeping Beauty".

This fairytale was present as early as the 1810 manuscript, written by Jacob Grimm from a tale told by Marie Hassenpflug. Research has proven that this story is derived from Charles Perrault's own Sleeping Beauty. We also find back in the German story a motif coming from another famous French literary fairytale, madame d'Aulnoy's "The Hind in the Woods/The Doe in the Woods" (also known as the White Doe). In this story a Crayfish/Lobster fairy announces to the queen she will have a child, and later the same fairy curses the princess as she is born - and what a coincidence! In the first edition of "Briar Rose", the animal that announces the princess' birth is not a frog... but a crayfish. Proving that there is a direct link. As for the name of the princess n German, "Dornröschen", "small briar rose", it actually first appeared in the German translation of a 1730 fairytale by Anthony Hamilton (an Irish man who however spoke and wrote French), "Fleur d'épine" (Thorn flower/Briar flower) - it had been translated in 1790. Bolte and Polivka have also noted a comedy by Gryphius from 1660 whch was named "Die geliebte Dornrose", "The beloved briar rose".

In their notes about the fairytale, the Grimm brothers explicitely compare Briar Rose to the legend of Brunhild asleep behind a wall of fire, cursed into a magical slumber by Odin's "sleep-thorn" and woken up by Sigurd, the only one able to cross the wall of flames. The brothers Grimm were also aware of Basile's version of the story, "Thalia, Sun and Moon", which they compared to their own Briar Rose in their notes. The brothers were very fascinated by the consistant naming of the princess' children from Perrault (Dawn, Day) to Basile (Sun, Moon) and compared it to the occurences of "Day, Sun and Moon" as names within the Eddas. However we know that Perrault was heavily inspired by Basile's story when writing his own Sleeping Beauty, and only modified some parts so as to erase the more shocking and "unpleasant" parts (such as the married prince having sex with the sleeping girl). Of course, this story is also to be compared with the 14th century medieval tale of the Roman de Perceforest.

The wise women that appear in this story are the Germanic equivalent of the fairies. In fact, we know that the brothers Grimm carefully avoided (or erased) any mention of "Fee" (the German word for the English "fairy" and French "fée") from their tales, so as to better differentiate them from the French "fairy tales", "contes de fées". By turning the fairies into wise women making predictions at the child's birth, the Grimms notably opened an entire set of symbolism and interpretations linking them to the mythological figures of the Norns, Parcae and Moirai.

Snow White (Schneewittchen)

Of course, it is the AaTh 709 "Snow-White".

The full editing history of this tale was only "recently" recreated (the book was published in 2009, it was recent back then) in its entirety. We know that it begins in 1808 with a version collected by Ferdinand Grimm, brother of Jacob and Wilhelm, called "Schneeweibchen". It seems Ferdinand might have invented the story on his own. Wilhelm and Jacob then slowly modified it, by adding details from other collected versions, before publishing it in their first edition in 1810 (they did note at the time that it was a Lower-Germany story, and that in Upper-Germany the tale did exist but with the deformed name of "Schliwitchen". When the Grimms did their second edition, the main change they performed onto this story was the modification of the wicked mother into a wicked stepmother - something they also did for "Hansel and Gretel". In fact, from edition to edition the Grimms kept adding adjectives and expressons highlighting the opposition between the girl and the vain queen.

Th Grimms had collected several variations of the tale. One was much closer to the tale of "The Juniper Tree" and in it the queen, as she was with the king on a hunting sled, cut her finger while peeling an apple. In another variation the king and queen were walking by three mounts of snow, than went by three pools of blood, and finally saw three ravens in the sky, and each time the king wishes for a girl with the corresponding colors - soon afterward the couple encountered a little girl fitting this description. The king, immediately attached to her, takes her with him in their royal carriage, but the queen immediately hates her and tries to get rid of her - so she asks the girl to go seek a glove she threw out of the window, and while she is out of the carriage she asks the driver to leave as fast as he can. Then the little girl takes refuge at the seven dwarves' house.

The fairytale existed in German literature before the brothers Grimm published it. Indeed J. A. Musaüs had published in 1782 a fairytale called "Richilde" - and the Grimm were influenced by this tale, since in the margins of their first edition, they noted about Snow-White "It is Musaüs' Richilde". There was also a Snow-White story that had been published in 1809 in a fairytale book by A. L. Grimm (no relationship to the brothers Grimm). The Brothers Grimm did note the striking similarity between this story and the Norse pseudo-historical legend of Snäsridr, the beautiful wife of "Harald with fair hair", a wife that, when she died, stayed in her prime state so that it seemed she was still alive.

This fairy-tale has a very wide area of spreading, as it can be found from Ireland to Turkey passing by central Africa. It is especially present in the literary Italian compilations of fairytales. Basile has three variations of the story in his Pentamerone: "The raven", "Nennillo and Nennella" as well as "The she-cook".

The various virtues that Snow-White shows in this tale made her one of the big role models within the education of bourgeoisie girls in the 19th century - alongside Cinderella, of course. In fact, according to H-J Uther's analysis of the story, it is because of all her virtues that Snow-White's beauty does not fade away and stays undamaged even in death, unlike her wicked stepmother whose vices causes the fading of her charms. Finally, this fairytale is actually the proof that the brothers Grimm did not simply listed their fairytales one after the other in a random order, but deliberately created "bridges" and internal references to create a cohesive world within their book. Indeed, the mention of the snowflakes looking like feathers references "Frau Holle", while the glass coffin can be found back in, of course, "The Glass Coffin", and the blood-drops on the snow evokes "The Juniper Tree".

Rumpelstilzchen

Yes this story is the famous "Rumpelstilskin" (or Rumpelstiltskin? I never know how to write it in English). But why keep the German spelling? Because Rimasson-Fertin has some stuff to say about it: this name is the diminutive form of "Rumpelstilz", a term that Jacob Grimm defined in his "German Dictionary" as being synonymous with "poltergeist" (he noted a similarity between Poltergeist and Rumpelgeist, both designated a very loud spirit). While today "poltergeist" is mostly associated with ghosts, in a much broader way it designate a dwarf, a dead or a devil - or just any kind of phenomenon caused by witchcraft.

This story corresponds to the AaTh 500 "The name of the supernatural being". This fairytale has an interesting evolution history... Jacob Grimm had a version of it as early as 1808, named "Rumpenstünzchen", which was then slightly modified for the 1810 manuscript. This tale was actually the mix of two different versions - and one of these versions had a different ending. The queen didn't sent messengers searching for the dwarf's name, rather the king spotted the little man while returning from hunting on the third day. The Grimm also noted a variation where the initial situation was reversed: a young girl who had to spin hemp but could only manage to spin gold much to everybody's despair, and a small man appeared to promise her a wedding to a king's son in exchange for her firstborn child. It ended in such a way: the queen herself spotted the small man singing his name, jumping around a fire while riding a ladle like a horse. When she guessed his name, he flew out of the window and into the sky, riding the ladle like a witch's broom. We know that the episode of the spinning of the straw was only added by the Grimm in 1812 (it is not in the 1810 version), and that the final scene of the dwarf self-mutilating comes from a story of Lisette Wild and was added in 1819.

The first literary record of this story is a French fairytale published in 1705 and written by Mlle Marie-Jeanne L'Héritier de Villandon. It was "L'Histoire de Ricdin-Ricdon" (The Tale of Ricdin-Ricdon), published in her "La Tour ténébreuse et les jours lumineux" (The Shadowy tower and the luminous days). It had been translated in German by Johann Gottwert Müller in 1790, under the title "Straubfedern", "Ostrich feathers". As for the name "Rumpelstilzchen", it actually originates from Johann Fischart's Grman adaptation of the French "Gargantua", "Geschichtklitterung" (1584) - in it, Fischart lists various children game by name, and mentions a "Rumpele stilt oder der Poppart".

This fairytale type is very present in Western, Central and Northern Europe (British Isles and Ireland included), with also a few spottings in the Baltic countries, China and Japan. The name of the supernatural being always changes from one region or country to the next (in Swiss it is Hans-Öfeli, in Dutch Trillevip, in Swedish Titteliture, in Finnish Tuttirituli, in the Suffolk it is Tom Tit Tot, in Welsh Gnarwynathrot, in Irish it is Eve-Trot or Trit-a-Trot...). It is part of the enormous success of this tale-type: every country has to invent its own brand of nonsensical, un-guessable name. As for the rhymed song through which the dwarf betrays its name, it is found in England as "Nimmy nimmy not / My name is Tom Tit Tot", and in an Afro-American version of North Carolina "I'm so glad that she do not know / That my name is Tabutoe Tambutoe".

The brothers Grimm noted that in Germanic mythology it was typical for underground beings (aka dwarfs) to have names that are not usual among humankind, which is why, again according to them, the dwarf of this story would feel in perfect safety proposing the queen such a game. The rule according to which obtaining the name of a supernatural being means gaining a form of power over them is very common, and is even reused in another one of the Grimm stories: KHM 136, "Iron John". H. Rölleke did an analysis of the names the queen proposes at first: we have the three names of the Magi, aka the Three Wise Men, or King-Magi, which gives a Christian setting to the story, and could also serve as a metonymy for all the saint names found in the Christian calendar. As for "Heinz" and "Kunz", Rölleke sees in them the diminutives of the names of the medieval emperors Heinrich and Konrad, which used to be some of the most popular male names among German-speaking countries.

All-Kinds-of-Fur (Allerleirauh)

It corresponds to the AaTh 510B "The dresses of gold, silver and stars", also known as "Donkey Skin", after the famous Charles Perrault fairytales.

The story we read today was the one told to the Grimm by Dortchen Wild, but there was a variation of it told to the brothers by Jeannette Hassenpflug, "Princess Mouse-Skin", which was present in the 1812's edition of the volume (n°71) but was then moves to the annotations as a mere mention. The version of the story from the first draft (the 1810 manuscript) was called "Allerlei Rauch", "All Kinds of Smoke", and was heavily inspired by one of the tales present within the novel "Schilly" by Carl Nehrlich.

The line "God forbade a father from marrying his daughter. Nothing good can come from this sin which will cause the kingdom's decadence" was added in the 1819 edition, and references a tale of Albert Ludwig Grimm called "Brunnenhold und Brunnenstark". The brothers Grimm insisted even more on the condamnation of the sin of incest when rewriting the story for their "small collection" for kids, and also insisted heavily upon a political extension of such a decision, which would damage the state itself. It is actually an allussion to the failure of the Frankfort Parliament, which had been gathered in 1848 at the Paulskirche in an attempt to create a constitution for all of Germany - to which Jacob Grimm had taken part.

A variation of the story collected in Paderborn has the last coat made of all the furs of the kingdom, plus moss and various forest-related material. In this version, the heroine puts the cloak on top of her three beautiful dresses before fleeing, and she hides in an empty tree where she is discovered, not during a hunting party, but by woodsman that cut off the tree she was sleeping into, to bring wood to the king. All-Kinds-of-Fur works in the castle's kitchen but one day as she is preparing the soup, the king has her sit on his chair so she can delouse him (a motif also present in "The Devil with Three Golden Hair). As she does, the king glimpses the beautiful shining dress under the cloak's sleeve, and this is how he discovers the girl's true appearance. Another variation of the story yet, also collected in Paderborn, has the heroine pretending to be mute. One day the king hits her with a whip, it rips apart the coat, revealing the golden dress underneath.

Not all the German versions of the story include the incest motif. In Musaüs' take on the story, "Die Nymphe des Brunnens", "The Nymph of the Well", the heroine leaves her father's castle because it has been destroyed. Her godmother, an undine, gifts her a small magical box and when she leaves the ball she says "Night behind me and day before me / Might nobody see me!". As for the version of Hassenpflug, "Princess Mouse-Skin", it begins as the KHM 179, "The Goose-Girl at the Well": a king wants to know which of his three daughters love him the most, the first says she loves him more than the whole kingdom, the second more than pearls and precious stones, the third more than salt. The furious father has the last princess be sent into the woods to be killed, but the servant tasked with the execution spares her out of pity, and gives her, by her request, a coat made of mice skin. The rest of the story goes like within "All-Kinds-of-Fur", except for the final wedding, to which the father-king is invited. All the dishes served to him are without salt, and he ends up saying he prefers to die rather than continue eating without salt. The princess-daughter reveals herself and points out how he tried to had her killed for loving him more than salt. Her father begs her for forgiveness, and the tale ends with her accepting.

The motif of the incest can, however, be found back in a variation of the KHM 31 (The Girl Without Hands) that the Grimms collected, and where the father mutilates the daughter for refusing to marry him. The motif of the king trying to marry his own daughter has been attested in many, many European stories ever since the 12th century. As for the boots that are thrown in the heroine's face in the Grimm story, while in the final edition it has no follow-up, in the 1812 edition it was a recurring element forming a motif within the tale. Another German version of the story that preserved this structure that the Grimms erased is the story collected by Vernaleken, "Throw-Broom, Throw-Brush and Throw-Comb". In it the king throws out of anger at the face of the heroine (Adelaide) a broom, a brush and a comb. Every time she goes to the ball, she changes her pseudonym to fit which item hit her (one night she is "Throw-Broom", another she is "Throw-Brush", etc...). There are many, many variations of the story containing such a "name play".

Other famous examples of this variation, outside of Charles Perrault's Donkeyskin, include Straparola's "The maiden in the chest", Basile's "The She-Bear", Afanassiev's "Pig-Skin".

Jorinde and Joringel (Jorinde und Joringel)

It corresponds to the AaTH 405, named and created after this story, "Jorinde and Joringel".

The interesting thing with this story is that the brothers Grimm did not collect it from a direct source. Rather they lifted it, to the exact word, from the autobiography of Johann Heinrich Jung, "Jugend/Youth", published in 1779. The brothers deemed that the way Jung-Stilling had written the tale was the "perfect" way to tell the story, according to their definition of a fairytale. Though they did note the existence of a version of the story told in Schwalm - but which differs very little from the story of Jung-Stilling.

The brothers Grimm themselves noted a similarity between this story, and the KHM 123, "The Old Woman in the Wood". Rimasson-Fertin notes that the witch in this story is to be compared to the ones appearing in "Hansel and Gretel" and in "Little Brother and Little Sister". As for the name of the demon the witch invokes, "Zachiel", H. Rölleke identified it as a form of "Zachariel", a demon name coming from the very popular 17th century demonology grimoire "Clavicula Salomonis", "The Clavicles of Salomon".

[whencyclopedia]

Frodi

Frodi (Old Icelandic: Fróði) is the name of legendary Danish kings in Norse mythology. There is a whole range of kings bearing the same name, pointing to fascinating traditions in both Old Icelandic and continental Germanic storytelling. Frodi features in Snorri Sturluson's Skáldskaparmál, the Ynglinga saga, and Saxo Grammaticus' Gesta Danorum, among other sources.

The Golden Age of Frodi in the Skáldskaparmál

In his Skáldskaparmál, part of the Prose Edda, the 13th-century Icelandic chieftain and author Snorri Sturluson explains the origins of many complex metaphors or kenningar. He mentions that one of the terms for gold is the flour of Frodi (Old Icelandic: Fróði), elsewhere the meal of Frodi, and goes on to explain the origin of this metaphor, where he fancifully links Odin to the history of Denmark and partly Sweden. Thus, in Snorri's story, a son of Odin, Skjöld, the founder of the dynasty, had a son, Fridleif, who in turn has a son Frodi. Chronologically, this would have been during the reign of Roman emperor Augustus (r. 27 BCE to 14 CE) and his pax romana. There are some historical elements to this, such as trade between Romans and proto-Danish speakers, with members of the aristocracy forging their prestige through contact with the Roman Empire, but a great unified land certainly did not exist.

Snorri tries to draw a parallel to Jesus Christ in what he tells next, and he also tries to prove how naive pre-Christians were in that they attributed the peace reigning in all northern territories at the time to Frodi. We have a bit from the myth of a golden era, with no murders or thefts. Frodi meets King Fjölnir from Sweden, and he purchases two slave women at the same time two gigantic millstones are discovered, which have the ability to grind anything. So Frodi tells the slaves to grind gold and prosperity and gives them very short breaks, only as long as a song, which is why they name the poem they are chanting Grottasöngr, after the name of the magic mill. The maidens deplore the inability of the king to foresee the consequences of his deeds, because what they in fact ground is an army against Frodi. A sea king called Mysing comes, plunders, and kills Frodi. Mysing orders them to grind salt, which they do until the ships sink, the seas flow into the mill hole, and they become salt.

Snorri probably got these very precise details from the Grottasöngr of the Poetic Edda, which he cites after retelling this story. In the poem, it is revealed that the girls are descendants of mountain giants, and they are the ones who had shaped the grindstone, but Frodi remains ignorant of their lineage, thus losing his seat at Hleidra (Lejre). So, historically, there might have been a reference to the first leaders here; Lejre (also bearing the name Fredshøj or Peace Barrow) had settlements dating back to 500. Dated to c. 650, the remains of a princely burial were excavated down by the river in a barrow called Grydehøj. The man and his grave goods had been cremated, but a profusion of melted bronze and gold, as well as sacrificed animals testify to his wealth. Snorri, however, interprets it from a Christian temporal and mythical perspective. Most probably, it was a saga of the Skjöldungs from which Snorri adopted this notion, as suggested by a 17th-century paraphrase.

Continue reading...

[historia-vitae-magistras]

Do you have any headcanons about Denmark?

Perky when it's warm out.

Will bike through a blizzard.

Happy drunk,

Very relaxed and friendly by European standards,

Occasionally play spars with Matt after Jan, Matt, and Magnus have had the blondest threesome just to re-traumatize and fuck up Arthur's entire day.

Sometimes they use plastic axes just to really season the old man's PTSD.

He rows for fun.

He and Berwald shatter beer bottles over each other's heads for old times' sake.

He tries to go vegetarian/vegan pretty often but always gets shit-faced and gets a kebab.

He's a cheerful, cozy type who it's really hard to believe looking at him now that he was once just primo Viking.

He will casually slap Arthur and Alasdair on the shoulder in a pitying way, like "Sorry I nicked all the pretty ones," and fuck off cackling like that's not a horrific thing to say.

He was a warrior poet, and he still has some of the old sagas stuck in his head and always wants to tell them when he's in the winter hygge mood.

Has a lot of very specific beef with Saxo Grammaticus.

Occasionally makes a remark to François about him sounding particularly Norman today just to put the fear of God in him.

Will occasionally pay for dinner, saying something like, "You got the last time." But the last time was 50 pounds of precious metals to pay the Dane-geld.

[faith-of-the-wheel]

Rudlós part 1. Introduction and Cognates

God of wild nature, disease and healing, archery, war, poetry, alcohol, and wisdom. He has always been of immense personal interest to me, as a proto-odin figure, a god of the Koryos. An almost liminal god of society, the savagery of war, wilderness, and disease, but also, poetry, alcohol, and healing. He is often depicted as being mounted on a horse, with a retinue of wolves following him.

A fascinating dichotomy, especially for the Proto-Indo-Europeans. They appear to have made a strong distinction between Defensive and Aggressive war. Perkwúnos is a protective deity, strongly correlated with Defensive war, giving Rudlos the other, invading aspect of conflict. He brings disease with arrows, which devastate communities and are often the biggest killers in war.

Yet, Rudlos is also associated with poetry, which we know was extremely important to the PIEs and possibly their main cultural expression of aesthetic beauty. The importance is also related to ritual and prayer in all likelihood. He associated with alcohol, and quite possibly hallucinogens, as he is sometimes seen as shamanic figure, guiding others on a path through the spiritual and granting divine knowledge he always seems to possess.

Art Credit: Wanderer by BrotherBjorn

Etymological Cognates (deities who share direct linguistic descendance with Rudlos):

The name could derives either from "rewd-/reud-" ("rend, tear apart"), or from "rud-/reu-" ("howl"). His name could be understood as "The Howler", an etymology shared by his linguistically closest descendant, the Vedic deity Rudra.

An alternative etymology interprets Rudra as the "red one", the "brilliant one", possibly derived from a lost root "rud-", ("red" or "ruddy") or alternatively, according to Grassman, "shining".

Stella Kramrisch notes a different etymology connected with the adjectival form "raudra", which means "wild", i.e., of "rude" (untamed) nature, and translates the name Rudra as "the wild one" or "the fierce god". R. K. Śarmā follows this alternative etymology and translates the name as "the terrible" in his glossary for the Shiva Sahasranama.

Another two likely cognates are found in Gaul, modern south eastern France. First is Rudianos. Manfred Lurker gives the name an etymology of "Red", connecting it to his being associated with Mars, reflecting the warlike nature of the god. There is also a prehistoric image of a mounted war-god, dated to the 6th Century BC, who could perhaps be Rudianos. The menhir-shaped stone depicts a roughly incised figure of a horseman, with an enormous head, riding down five severed heads. The iconography is evocative of the head-hunting exploits of the Celts, who hung the heads of their battle victims from their saddles, according to classical writers.

The second is Rudiobus, known only from a single inscription, on a bronze figurine of a prancing horse that reads: "Sacred to the god Rudiobus". This figure, from the 1st century BC, is one of a group found in Loiret, located in central northern France. It has been suggested by some that this may be an aspect of a Gaulish form of Mars instead an indigenous Celtic deity, but I consider that there just as good, if not higher chance of his him being related to, or a regional spelling of Rudianos.

Lastly, there is the slavic god Rugiaevit, Rugievit (Latin: Rugiaeuit) or Ruyevit. Worshiped on the German isle of Rügen, and primarily attested by Saxo Grammaticus, who's words we obviously have to be careful with.

There are two interpretations of the theonym. Rugiaevit is usually translated as "lord, ruler of Rügen". Often scholars propose to read the name as Ruyevit; Aleksander Gieysztor suggests combining the this interpretation with the root "ru-" existing in such words as "řuti" ("to roar"), and "ruja" ("roar of deer", "estrous, heat", as well as "fertility"), which is seen in the Old Russian word "rujenь –" a term for one of the autumn months that falls during the time of the estrous cycle examples: cf. Czech "říjen", Bulgarian "руен (ruen)", Serbo-Croatian "ру̑јан, rujan". Lubor Niederle, assuming the phonetic similarity of Ruyevit and Yarovit, concluded that the two gods were identical, but this opinion does not seem popular or particularly helpful beyond one possible etymology of "ruthless lord" which could fit well with Rudlos. The suffix "-vit" translates as "lord, ruler"; it is less often compared with the word "vitędzь" due to the borrowing of this word from Germanic languages (cf. viking).

Witczak and Kaczor (1995), cited by Mallory and Adams, take Old Russian Rъglъ ("Rŭglŭ") to be from a reconstructed Proto-Slavic *Rъdlъ ("Rŭdlŭ").

The Senowera document has the epithet Wā́tonos listed with his name. It is believed to be the PIE ancestor of Proto-Germanic Wōðanaz/Wōdunaz meaning "lord of frenzy", a name which becomes Wotan, Wodan, and Oðinn,(also Ódr, who is often believed to be a hypostasis of Oðinn) which we will get into later.

Thirdly, the typically separately reconstructed deity Léudheros (h₁leudʰero ('belonging to the people', hence 'free')) is prescribed in the Senowera document to potentially be an aspect or epithet of Rudlos. The name is primarily reconstructed from Liber and Lóðurr, who is poorly attested and whose etymology is highly controversial. Liber Pater ("The Free Father"), god of viticulture, wine, freedom, and male fertility. He cult was increasingly associated and absorbed by romanised Dionysus. Liber asserted plebeian rights to ecstatic release, self-expression and free speech.

We're gonna cover Léudheros another time as a separate deity, but we will take his possible status as an aspect of Rudlos into account when we do. In the next part, we're gonna compare the these various cognates from a mythological perspective.

[stromuprisahat]

RUGIEVIT (západní Slované; Saxo Grammaticus, Knýtlinga saga) - válečný sedmihlavý bůh uctívaný v Korenici (patrně Garz), kde měl ve 12. století svůj chrám. Dubový idol měl u pasu sedm mečů, osmý držel v pravé ruce. Socha byla vysoká asi 3 m ... Vlaštovky, jež hnízdily na soše, se staly dotykem s ní tabu, takže jejich hnízdo ani trus nebyly ze sochy odstraněny. ... jako vládce-suverén byl nejspíše předchůdcem Svantovíta. Posvátným zvířetem mu byl bělouš, obdobně jako v případě Svantovítově ... ~ RUYEVIT (Western Slavs; Saxo Grammaticus, Knýtlinga saga) - a seven-headed war god worshiped in Charenza (probably Garz), where he had his temple in the 12th century. The oak idol had seven swords at its waist, the eighth held in its right hand. The statue was about 3 m high … Touching the swallows that nested on the statue became a taboo, so neither their nests nor their droppings were removed from it. … as a ruler-sovereign, he was most likely the predecessor of Svantovit. His sacred animal was a white horse, similarly as in the case of Svantovit…

Encyklopedie slovanských bohů a mýtů ~ Encyclopedia of Slavic Gods and Myths (Naďa & Martin Profantovi)

[maniculum]

I seem to have forgotten to share the link to our Halloween special. Here, have it a few days after Halloween.

----------

What's better than the undead you don't know? The undead that you do! Join us in this Halloween special as we delve into the spooky nature of medieval undead tales and ghost stories, and teach you how to adapt them to TTRPGs!

Join our discord community! Check out our Tumblr for even more! Support us on patreon! Check out our merch!

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Citations & References:

Saga Thing: The Tale of Thorstein Shiver -- listen here

Caesarius of Heisterbach. The Dialogue On Miracles. Translated by H. von E. Scott and C. C. Swinton Bland, vol. 2. Harcourt, Brace & Co., 1929.

The Chronicle of Lanercost. Translated by Herbert Maxwell. James MacLehose and Sons, 1913.

Saxo Grammaticus, The Nine Books of the Danish History of Saxo Grammaticus. Translated by Oliver Elton, vol. 2. Norrœna Society, 1905.

William of Malmesbury. The History of the Kings of England and the Modern History of William of Malmesbury. Translated by John Sharpe. Longman, Hurst, Rees, Orme, and Brown, 1815.

William of Newburgh. “The History of William of Newburgh.” The Church Historians of England, edited and translated by Joseph Stevenson, vol. 4. Seeleys, 1856.

[nightheartcomics]

“You cannot escape what fate the Norns have spun.”

THE NORTHMAN (2022)

Directed by Robert Eggers

Written by Sjón & Robert Eggers

Based on The legend of Amleth by Saxo Grammaticus

Produced by Mark Huffam, Lars Knudsen, Robert Eggers, Alexander Skarsgård & Arnon Milchan

Starring Alexander Skarsgård, Anya Taylor-Joy, Nicole Kidman & Claes Bang