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Baldrs draumar

Baldrs draumar, also known as Vegtamskviða, is an anonymous Old Norse-Icelandic eddic poem that recounts the god Óðinn's disguised journey to the realm of the dead to consult a seeress about Baldr's prophetic nightmares foretelling his death at the hands of his brother Höðr.^[1] Composed in the fornyrðislag meter, the poem consists of 14 stanzas structured as a dialogue of riddles and revelations between Óðinn, posing as the wanderer Vegtam, and the völva he awakens in Hel.^[2] The narrative begins with the Æsir assembling in Ásgarðr to interpret Baldr's disturbing dreams, leading Óðinn to ride his eight-legged horse Sleipnir northward to the underworld, where he encounters a bloodied hound guarding the gates.^[1] Using a spell, Óðinn revives the seeress, who progressively discloses that Baldr will be slain unwittingly by the blind god Höðr with a mistletoe shaft, and that the avenger Váli—Óðinn and Rindr's son—will be born fully grown to kill Höðr in retribution.^[2] The völva then recognizes Óðinn's true identity through his ravens Huginn and Muninn, declares she will prophesy no more, and hints at the broader cataclysm of Ragnarök.^[1] The poem survives uniquely in the early 14th-century vellum manuscript AM 748 I 4to from the Arnamagnæan Collection, a fragmentary codex containing six leaves with five other eddic poems, some overlapping with the Codex Regius.^[3] Later paper manuscripts, such as AM 738 4to and the Edda Oblongata (c. 1680), preserve expanded versions with additional stanzas and the alternate title Vegtamskviða.^[3] Its composition date remains uncertain but is generally placed in the medieval period, possibly after the 10th-century Völuspá due to shared motifs.^[2] Baldrs draumar holds significant place in Old Norse mythology as one of the primary poetic sources for the Baldr myth, emphasizing themes of inevitable fate, fraternal betrayal, and divine vengeance that prelude Ragnarök.^[2] It complements prose accounts in Snorri Sturluson's Gylfaginning (c. 1220), where Baldr's death is instigated by Loki, though the poem omits Loki's direct role, focusing instead on the prophetic triad of victim, slayer, and avenger.^[1] Scholarly interpretations highlight its dramatic tension through the escalating dialogue and potential allusions to giantish opposition to the gods, with the völva possibly embodying a figure like Loki or Angrboða.^[2]

Overview

Synopsis

The poem Baldrs draumar opens with the gods and goddesses gathering in council to investigate the source of Baldr's disturbing dreams, which foretell misfortune.^[4] Troubled by these visions, Frigg, Baldr's mother, shares her concerns, prompting Odin to take action.^[4] In stanza 1, the assembly of gods and goddesses seeks to uncover the meaning behind Baldr's baleful dreams. Odin, the old enchanter, rises and saddles his steed Sleipnir (stanza 2), riding down to the depths of Niflhel, the underworld. There he encounters a bloodied hound howling from afar (stanza 3), which recognizes him as the father of magic. The ground resounds as Odin approaches the high hall of Hel. At the eastern door of the hall, Odin locates the grave of a wise-woman (völva) and uses powerful spells and charms to raise her from the dead (stanza 4). The völva awakens reluctantly, complaining of being disturbed from her long death, snowed upon, rained on, and drenched with dew, and questions the identity of her summoner (stanza 5). Disguised as Vegtam, son of Valtam, Odin inquires about the preparations in the hall—benches ringed with gold and platforms adorned with gold (stanza 6). The völva reveals that the mead is brewed for Baldr, covered by a shield, but the gods' hope is lost (stanza 7). She expresses unwillingness to speak further. Odin presses her to continue, asking who will bring about Baldr's death and steal the life from Odin's son (stanza 8). The völva prophesies that Hoth will bear the mistletoe branch, becoming Baldr's bane (stanza 9), and again wishes to remain silent. Undeterred, Odin asks who will avenge the evil deed by bringing Baldr's slayer to the flames (stanza 10). The völva foretells that Rind will bear Vali in the western halls (Vestrsalir), who, at one night old, will fight Odin's son, refusing to wash his hands or comb his hair until he consigns Baldr's killer to the pyre (stanza 11). Odin then questions who the maidens will be that weep and toss sail-yards to the sky in mourning (stanza 12). The völva recognizes Odin's true identity, declaring him not Vegtam but the old enchanter Odin. Odin retorts that she is no true wise-woman but the mother of three giants (stanza 13). In her final words, the völva refuses to speak more, bidding Odin ride home proudly, for no one will summon her again until Loki breaks free from his bonds and the destroyers come for the final battle (stanza 14).^[4] Following the prophecy, the narrative implies Odin's return, though the poem ends with the völva's declaration. The foretold events tie Baldr's death by Hoth's hand with the mistletoe to Váli's vengeance, placing the slayer on a pyre.

Manuscript Tradition

The poem Baldrs draumar survives exclusively in the parchment manuscript AM 748 I a 4to, a fragmentary codex dated to approximately 1300–1325 and written in Iceland, which serves as the sole medieval witness to its complete 14 stanzas.^[5]^[6] This manuscript, housed in the Arnamagnæan Institute in Copenhagen, measures 205 mm by 152 mm and comprises 6 leaves originally forming part of a larger volume; it is defective with lacunae following leaves 2 and 6, but Baldrs draumar itself appears intact without significant gaps or textual variants, copied in a single unknown hand. The poem is positioned after Hárbarðsljóð and before Skírnismál among other Eddic fragments, including variant versions of Vafþrúðnismál, Grímnismál, Hymiskviða, and Völundarkviða.^[5] AM 748 I a 4to entered the Arnamagnæan Collection through the acquisition by scholar Árni Magnússon in 1691 from the farm Bæ in Flói, Iceland, where it had previously belonged to the library of Bishop Brynjólfur Sveinsson (1605–1675); the fragment was once bound with the related vellum AM 748 I b 4to but was separated during modern conservation efforts.^[5] Unlike the core Poetic Edda compilation in the Codex Regius (GKS 2365 4to, c. 1270), AM 748 I a 4to stands apart as a supplementary source in the Eddic tradition, offering unique preservation of Baldrs draumar alongside variants of shared poems, consistent with influences from oral transmission in medieval Iceland.^[6]

Poetic Form and Composition

Meter and Structure

Baldrs draumar employs the fornyrðislag meter, the predominant form in many Eddic poems, characterized by short lines typically comprising four stresses divided into two half-lines linked by alliteration, which creates a rhythmic, narrative-driven pace suited to dialogue and storytelling.^[6] This meter, often translated as "old story meter," features two primary stresses per half-line, fostering a concise and propulsive flow that emphasizes oral delivery. The poem unfolds across 14 stanzas in the conventional Eddic dialogic format, with alternating speeches between Odin (disguised as Vegtamr) and the völva, creating a question-and-response dynamic that mirrors the interrogative structure of other prophetic Eddic works.^[7] While primarily adhering to fornyrðislag, certain lines exhibit subtle influences from the more intricate dróttkvætt meter—common in skaldic poetry—through heightened internal rhyme and syllable precision, particularly in moments of emphatic revelation to underscore dramatic tension.^[8] Linguistically, the poem incorporates archaic vocabulary evocative of early Norse cosmology, such as "Niflhel," denoting a misty underworld realm encountered by Odin during his ride.^[9] Kennings appear sparingly but effectively, as in descriptions of "gold-decked platforms" for festal halls, blending metaphorical compound words with straightforward imagery to evoke opulence and ritual.^[10] Rhetorical devices like repetition amplify the prophetic tone; the völva repeatedly declares her reluctance—"Unwilling am I to tell"—before yielding to Odin's insistence, heightening the sense of foreboding disclosure.^[10] The structure progresses through a crescendo of revelations, beginning with Baldr's ominous dreams and Odin's preparatory ride, then escalating via the völva's incremental prophecies—from the dog's guardianship to the slaying of Baldr by Höðr with mistletoe, the birth of Váli, and his vengeance on Höðr—building inexorable tension toward the final, ominous silence where the völva recognizes Óðinn and hints at Ragnarök.^[7] Compared to the ljóðaháttr meter in Völuspá, which introduces longer, six-syllable full lines for a more expansive, incantatory effect, fornyrðislag here prioritizes simplicity and speed, enhancing the poem's taut, focused narrative momentum.^[6]

Date and Authorship

The composition of Baldrs draumar is estimated by scholars such as Henry Adams Bellows to date to the mid-10th century, based on its linguistic archaisms and close mythological consistency with pre-Christian Norse traditions preserved in other Eddic poems. While linguistic analyses, such as the frequency of particles of/um (0.463 per 10 lines) and absence of later negations like eigi, suggest a 10th-century origin, the exact date remains debated, with scholarly estimates ranging from the 9th to the 12th centuries. This aligns with broader analyses placing the poem within the Viking Age (9th–11th centuries), reflecting an oral tradition that predates widespread Christianization in Scandinavia.^[11] The primary manuscript preserving the poem, AM 748 I 4to, dates to the early 14th century, though later 17th-century paper copies also exist, suggesting transmission through scribal traditions that may include minor Christian interpolations from the 13th century during Iceland's conversion period. Authorship of Baldrs draumar remains anonymous, typical of the Eddic corpus, and is attributed to an unnamed skaldic or Eddic poet rather than a signed individual, unlike certain contemporary works such as those by Snorri Sturluson.^[11] No specific author is identified in the manuscripts or related sources, though stylistic parallels with Völuspá have led some, including Bellows, to speculate a shared composer, potentially the same poet responsible for that poem's prophetic elements. Key evidence for an early dating includes linguistic features like the high frequency of particles such as of/um (0.463 per 10 lines) and the absence of later negations like eigi, which a Naïve Bayes classifier analysis supports as indicative of 10th-century origins.^[11] The poem's metrical structure in fornyrðislag, with 64% Type A lines and archaic alliteration patterns (e.g., vr- with v-), further points to an early medieval style consistent with pre-1000 composition.^[11] Parallels with Völuspá's Baldr narrative and the lack of post-Conversion Christian motifs reinforce this, though the poem's terminus ante quem is established by its potential use in Snorri's Prose Edda around 1225.^[11] Scholarly debate persists, with Finnur Jónsson proposing an even earlier date of 875–900 based on syntactic archaisms like 100% V1/V2 verb positioning in subordinate clauses, while Jan de Vries argued for a late 12th-century (1150–1200) reworking of older pagan material, citing its derivative elements from Völuspá.^[11] More recent views, such as those of Kirsten Olsen (2020), suggest an 11th-century or later origin due to low overall particle usage, though the consensus leans toward a 10th-century composition amid varying intertextual influences.^[11] The poem likely originated in Iceland or Norway during the transition from paganism to Christianity in the late 10th century, embodying oral performance traditions among Norse communities where mythological prophecies like Baldr's dreams were recited to explore themes of fate. This context underscores its role in preserving heathen lore just before the full impact of Christian conversion around 1000 CE.^[11]

Mythological Significance

Relation to Baldr Myth

Baldrs draumar foreshadows the death of the god Baldr as recounted in Snorri Sturluson's Gylfaginning from the Prose Edda, where Baldr is slain by his blind brother Höðr using a mistletoe dart, an event that precipitates the chain leading to Ragnarök, and in the Poetic Edda's Völuspá, which describes Baldr's killing and his posthumous return after the world's destruction.^[1] In the poem, Odin consults a völva in the underworld to interpret Baldr's ominous dreams, and she prophesies his demise at Höðr's hands, followed by vengeance from Baldr's brother Váli and the binding of Loki, elements that parallel the eschatological sequence in Völuspá stanzas 31–33.^[1] Baldr's funeral is implied through the völva's revelation of his doom, though the poem refers to the weapon obliquely as a 'branch' without naming it mistletoe explicitly.^[12] Unlike Snorri's Gylfaginning account, which details Frigg's oaths from all things to spare Baldr and Loki's manipulation to identify the overlooked mistletoe, Baldrs draumar centers on prophetic dreams and divine foreboding without referencing the oaths or Loki's direct involvement in the killing.^[1] The poem's dialogue between Odin and the völva heightens the sense of inevitable fate through oracular revelation, contrasting Snorri's narrative focus on causal events and trickery.^[2] The poem connects to other Eddic works, echoing Völuspá's apocalyptic prophecy of Baldr's death and the gods' downfall, as well as Hyndluljóð's foretelling of Baldr's slaying and Loki's monstrous offspring, forming a loose thematic cluster around Baldr's tragedy within the mythological corpus.^[1] It shares stylistic elements, such as the völva's enumeration of doomed figures, with these prophetic lays, contributing to what scholars term a "Baldr cycle" in Eddic poetry that underscores recurring motifs of loss and retribution.^[1] In Norse mythology, Baldrs draumar reinforces Baldr's portrayal as a radiant figure embodying light, purity, and innocence, whose untimely death marks the onset of cosmic decline and the unraveling of the divine order leading to Ragnarök.^[13] Scholars suggest possible historical roots in 9th-century Swedish cults dedicated to Baldr, inferred from place names like Baldringe in Skåne, though direct archaeological evidence remains limited.^[14]

Key Figures and Motifs

In Baldrs draumar, Odin emerges as a central shamanic figure, undertaking a perilous journey to the underworld to uncover the source of his son Baldr's ominous dreams. Disguised as the wanderer Vegtamr, son of Valtam, Odin rides his eight-legged horse Sleipnir to the gates of Hel, where he encounters a bloodied hound that howls as a guardian of the realm of the dead.^[15] Employing seiðr magic and necromantic charms, Odin awakens a buried völva from her grave, compelling her to prophesy despite her initial reluctance, in a ritual that underscores his mastery of forbidden knowledge and interaction with the deceased.^[16] This depiction parallels other quests by Odin for esoteric wisdom, such as his consultations with the dead in poems like Völuspá.^[15] The völva serves as the prophetic authority, a dead seeress whose awakening motif evokes traditions of underworld consultations to extract truths from beyond the grave. Raised through Odin's incantations, she reveals her identity as the mother of three giants before disclosing the fatal events: Baldr's death at the hands of his blind brother Höðr, who wields a mistletoe twig as the instrument of fate, and the swift vengeance by Odin's son Váli, born to Rindr and slaying Höðr on the same day.^[15] Her prophecy culminates in hints of Ragnarök, including Loki's binding with the entrails of his son Narfi, after which she refuses to prophesy further, recognizing Odin and declaring she will not rise again until the world's end.^[15] Baldr appears as a passive figure, his vulnerability symbolized through the evil dreams that trouble the gods and prompt the divine assembly at the poem's outset, while Höðr embodies the unwitting slayer, guided indirectly by Loki's malice.^[15] Recurring motifs in the poem emphasize symbolic elements of doom and transition. Dreams function as omens, driving the narrative as Baldr's nightmares foretell his demise and compel the gods' council.^[15] The underworld journey highlights the halls of the dead, with Hel's house and its guarded gates representing barriers to hidden knowledge, guarded by the hellhound as an animal sentinel.^[16] Animal sacrifice appears in the prophecy's allusion to Narfi's entrails used to bind Loki, evoking ritualistic elements of punishment and cosmic order.^[15] These motifs align with the broader Baldr myth recounted in Snorri Sturluson's Prose Edda, where Höðr's act with mistletoe precipitates Baldr's funeral and the gods' mourning.^[15]

Themes and Interpretations

Prophecy and Fate

In Baldrs draumar, Baldr's recurring nightmares act as divine forewarnings of his imminent death, prompting the gods' assembly to interpret their meaning. These dreams underscore the tension between the desire to avert tragedy and the inexorable pull of destiny, illustrating fate's supremacy over even godly intervention. Related mythological accounts, such as in Snorri Sturluson's Gylfaginning, describe Frigg's protective measures, including extracting oaths from all things in creation to spare Baldr harm—except the overlooked mistletoe—but these efforts ultimately fail.^[1] To unravel the dreams' meaning, Odin, disguised as the wanderer Vegtamr, journeys to Niflhel and awakens a völva with necromantic rites, eliciting her revelations in a progressive dialogue.^[1] She discloses Baldr's slaying by his blind brother Höðr using mistletoe, followed by Odin's vengeance through the birth of Váli, who will kill Höðr in retribution on his first night of life; these events extend cosmically, with Baldr's prolonged stay in Hel and his return only after Ragnarök, evoking echoes of apocalyptic guilt and renewal.^[9] The poem embodies the Norse concept of örlög—a binding, hidden fate akin to wyrd—through these unalterable sequences, where Odin's desperate quest exposes the gods' powerlessness against predestined outcomes, from personal loss to the world's end.^[17] Literarily, this builds suspense via partial revelations in the question-and-answer exchange, culminating in deliberate ambiguity as the völva, recognizing Odin, withholds details on reversibility and sinks back into silence, heightening the sense of looming inevitability.^[18] While sharing prophetic motifs with Völuspá's seeress visions of Ragnarök and cosmic cycles, Baldrs draumar adopts a more intimate lens, narrowing on Baldr's myth to intensify the personal dimensions of doom.^[1] Odin and the völva serve as archetypal prophetic figures, channeling otherworldly knowledge in Eddic tradition.^[17]

Scholarly Analysis

Late 19th-century scholarship on Baldrs draumar often interpreted the poem through the lens of Christian influences on pagan mythology, viewing it as a moral allegory illustrating the perils of divine hubris and the inevitability of fate under a monotheistic overlay. Sophus Bugge, in his seminal work The Home of the Eddic Poems (1881–89), argued that motifs in the Baldr myth, including the prophetic consultation in the poem, derived from Christian legends encountered by Norse settlers in England, transforming indigenous tales into cautionary narratives akin to biblical parables of fall and redemption. This perspective emphasized how the poem's portrayal of Odin's futile quest reflected a Christianized critique of pagan overreach, positioning Baldr's impending doom as symbolic of moral transgression.^[19] In the 20th century, analyses shifted toward indigenous ritual and social dynamics, with John Lindow highlighting shamanistic elements in Odin's use of seiðr to raise the völva, interpreting the scene as a depiction of ecstatic trance and soul journey central to pre-Christian Norse cosmology. Lindow's Norse Mythology: A Guide to the Gods, Heroes, Rituals, and Beliefs (2001) frames this act as evidence of Odin's role as a shamanic figure, drawing parallels to Siberian and circumpolar traditions where leaders communed with the dead for prophetic insight. Complementing this, Margaret Clunies Ross examined gender roles, noting the völva's authoritative voice as a subversion of patriarchal norms, where her command over Odin underscores the empowered status of female seers in Eddic narratives despite societal constraints on women. In Prolonged Echoes: Old Norse Myths in Medieval Northern Society (1994–98), Ross argues that the völva's resurrection and prophecy challenge gender binaries in magic, positioning her as a liminal authority figure who wields knowledge denied to male gods. Debates on the poem's authenticity center on whether it represents a unified 10th-century composition or a composite text with later interpolations, reflecting oral layering over time. Finnur Jónsson, in his historical survey Den oldnorske og oldislandske litteraturs historie (1907–12), dated the core to the early 10th century but suggested stanzas 11–14, detailing the völva's revelation, may include post-pagan additions influenced by Christian eschatology, though he affirmed overall coherence. Post-2020 scholarship, while still relatively sparse, includes studies such as the linguistic dating analysis in Dating the Old Norse Poetic Edda (2021), which examines the poem's composition timeline, and comparative mythic analyses like "The Myth of Baldr's Death and the Vedic Wounded Sun" (2023), exploring cross-cultural parallels in the Baldr narrative.^[11]^[20] Interpretive lenses have diversified, including psychoanalytic views that cast Baldr as a sacrificial victim embodying collective guilt and the death drive, with Odin's necromancy symbolizing repressed paternal anxiety over loss. William P. Reaves's Northern Gnosis (2019) applies Freudian and Jungian frameworks to the myth, interpreting Baldr's dreams and demise as archetypal projections of the ego's confrontation with mortality and the shadow self. Comparatively, the völva's oracle parallels Greek necromantic consultations, such as Odysseus's invocation of Tiresias in the Odyssey, both emphasizing the perilous crossing of boundaries for forbidden knowledge.^[21] Recent critiques address Eurocentric biases in Eddic studies, arguing that earlier interpretations imposed Christian or classical frameworks, marginalizing indigenous Saami and Finno-Ugric influences on Norse shamanism and prophecy. Addressing scholarly gaps, recent eco-mythological approaches underexplore the underworld in Baldrs draumar as a liminal ecological space, where Hel represents not mere death but a threshold of renewal amid cosmic decay, akin to wetland liminality in Norse landscapes. Mathias Nordvig's eco-mythological readings of Eddic cosmology (2014) suggest such motifs prefigure environmental fatalism, inviting further analysis of the poem's Hel scenes as metaphors for sustainable cycles in pre-industrial Scandinavia.^[22]

Cultural Influence and Adaptations

In Literature and Music

Richard Wagner drew inspiration from Baldrs draumar for Act 3, Scene 1 of his opera Siegfried (1876), part of the Ring Cycle, where the Wanderer (Wotan, akin to Odin) consults the earth-goddess Erda about prophetic dreams foretelling doom, paralleling Odin's ride to the underworld to question a völva about Baldr's ominous visions.^[23] In 19th-century Romantic literature, Baldrs draumar contributed to the revival of Eddic motifs in national epics among Danish poets, who incorporated Norse mythological themes of prophecy and divine tragedy to evoke cultural heritage.^[24] Musical adaptations of the poem emerged in the 20th century, including Norwegian composer Geirr Tveitt's ballet Baldurs draumar (Op. 81), composed in 1935 and premiered in 1938, which scores Odin's underworld journey and the völva's revelations through orchestral suites evoking Norse mysticism.^[25]^[26] Literary echoes appear in Victorian novelists' use of Baldr's death as a tragic archetype for inevitable doom, exemplified by William Morris in The Story of Sigurd the Volsung and the Fall of the Niblungs (1876), where heroic fates mirror the poem's prophetic undertones of divine vulnerability and betrayal within the Volsung saga's Norse framework.^[27] In 20th-century literature, Neil Gaiman's American Gods (2001) briefly references the Baldr myth through the character Shadow Moon, revealed as an incarnation of Baldr, framing his sacrificial arc as a modern echo of prophetic loss and the old gods' fading relevance in America.^[28]

Modern Representations

In contemporary video games, Baldrs draumar influences portrayals of Baldr's prophetic dreams and inevitable fate. The 2018 title God of War, developed by Santa Monica Studio, reimagines Baldr as the primary antagonist whose invulnerability stems from his mother's efforts to avert a foreseen death in his dreams, mirroring the poem's ominous visions that prompt Odin's quest for prophecy. This motif underscores boss encounters emphasizing unbreakable curses and destined tragedy, adapting the Eddic narrative to interactive storytelling.^[29] Literature has seen retellings that incorporate the poem's dream omens within broader Norse myth cycles. Joanne M. Harris's 2014 novel The Gospel of Loki narrates events from Loki's perspective, including Baldr's foreboding dreams as harbingers of doom leading to his death, heightening the trickster's role in unraveling divine fates. The work emphasizes these prophetic elements to explore themes of betrayal and apocalypse, drawing directly from Eddic sources like Baldrs draumar. In neopagan practices, particularly Icelandic Ásatrú since the 2010s, Eddic poems feature in solstice rituals and dramatic performances to invoke prophetic wisdom and seasonal cycles. The Ásatrúarfélag, Iceland's official pagan association, integrates such texts into ceremonies for communal reflection on fate and renewal.

References

[1]
Baldrs draumar - The Poetic Edda - Open Book Publishers
For that we must look to Old Norse prose and further afield. The fullest source for Baldr's death and its aftermath is SnEGylf (49–50, pp. 45–49). Its sources ...Missing: scholarly | Show results with:scholarly
[2]
[PDF] Baldrs draumar: literally and literarily
Baldrs draumar has more than once provoked scholars trying to use the poem as a source of Old Norse mythology. It has often been considered not only self ...
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Baldrs Draumr eða Vegtamskviða - Germanic Mythology
The Eddic poem Baldrs Draumr is only preserved in the manuscript known as AM 748 I 4. It contains 14 verses. Later paper manuscripts of the same poem, ...
[4]
The Poetic Edda: Baldrs Draumar | Sacred Texts Archive
### Extracted Poem: Baldrs Draumar by Henry Adams Bellows
[5]
https://handrit.is/en/manuscript/view/da/AM04-0748-I-a
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The Poetic Edda - Introduction - Open Book Publishers
Six of the poems also survive, in whole or part, in a related, fragmentary manuscript of the early fourteenth century, AM 748 I a 4 to of the Arnamagnæan ...
[7]
"Baldrs draumar" and the Generic Turn - jstor
The poem, which at first seems plotless, disharmonic, and full of misunderstand- ings, can be explained as a farce deliberately making use of generic elements ...
[8]
1.1. What is skaldic poetry of the Scandinavian Middle Ages?
The predominant Norse version of this metre came to be called fornyrðislag 'old story metre', a term we find applied to it in Snorri Sturluson's {Háttatal} ' ...
[9]
Recognizing Mythic Images in Fantastic Literature: Reading Baldrs ...
This paper examines the obscure concluding sequence in the Old Norse eddic poem Baldrs draumar. In the poem, the god Odin travels in disguise to the realm ...
[10]
Völuspá - Norse and Germanic Lore site with Old Norse / English translations of the Poetic Edda and Prose Edda
### Summary of Kennings and Descriptive Phrases in Baldrs Draumar Stanzas 6-10
[11]
[PDF] Dating the Old Norse Poetic Edda
Mythological poems from non-CR sources include Baldrs draumar, Grottasǫngr ... Chapter 2 discusses the scholarly debate on the age of Old Norse poetry, especially.
[12]
[PDF] Some Controversial Aspects of the Myth of Baldr
Nor does Hermóðr's visit to Hel or Óðinn's journey to meet a seeress in Baldrs draumar bear any resemblance to the harrowing of hell. In one work after another ...
[13]
Baldr - World History Encyclopedia
Sep 16, 2021 · Baldr is a god in Norse mythology associated with light, wisdom, and courage, although he is never specifically defined as the god of any of these.
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[PDF] INTERPRETING BALDR, THE DYING GOD THE 1993 TRIEBEL ...
No archaeological artifacts attest his worship; few place names anchor his cult to specific landscapes; and his role in the extant myths remains tantalizingly ...
[15]
https://doi.org/10.11647/OBP.0308
[16]
Óðinn, Charms, and Necromancy: Hávamál 157 in its Nordic and ...
Óðinn claims in stanza 157 of Hávamál that he is able to carve and color runes such that a hanged man will walk and talk with him.
[17]
(PDF) Baldrs Draumar: Literally and Literarily - Academia.edu
This paper delves into the Norse poem 'Baldrs draumar' and its multifaceted interpretation, emphasizing its enigmatic qualities and the interplay of oral ...
[18]
THE STORY OF BALDR'S DEATH: THE INADEQUACY OF MYTH IN ...
of Baldr's death is nothing new. Most late nineteenth century scholars were ready to dismiss the story as presented in the Prose Edda and the. Voluspd as ...
[19]
An Ecocritical Reading of Ragnarok in Voluspa and Gylfaginning
It argues for an ecocritical approach, highlighting the parallels between the apocalyptic themes in Norse mythology and contemporary ecological crises, ...
[20]
Northern Gnosis: Thor, Baldr, and the Volsungs in the Thought of ...
Freud's theories of a death instinct, repetition compulsion, mourning and the ego-ideal are read as a variant to the tale of Baldr's death. And the ...
[21]
The Old Norse Mythical Worldview in an Eco-Mythological Perspective
Aug 3, 2014 · Of Fire and Water: The Old Norse Mythical Worldview in an Eco-Mythological Perspective. By Mathias Nordvig.Missing: Baldr underworld liminal space
[22]
At The Opera, Wagner: Siegfried, October 20, 2018 - capradio.org
Oct 20, 2018 · Scene 1 of Act 3 (between The Wanderer and Erda) has a parallel in the Eddic poem Baldrs draumar, in which Odin questions a völva about the ...Missing: inspiration | Show results with:inspiration<|separator|>
[23]
[PDF] Wagner's Siegfried Act III Scene 1 - CORE
... and the idea is probably inspired by Baldrs draumar (Baldr's dream) 2-3 where Odin rides to Hel on his eight legged horse Sleipnir (The Elder Edda, tr. Andy ...
[24]
[PDF] 'NORTHERN GODS IN MARBLE' - Tidsskrift.dk
As a poet, Oehlenschläger used Norse themes extensively. With The Gods of the. North (1819), he realized his dream of an epic based on Norse mythology. The work ...Missing: influences | Show results with:influences
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Originally composed as a ballet score in 1935, it was first performed in 1938 and in the following year it reached Paris where the score was performed as an ...
[26]
Viking music: how the ancient Scandinavians inspired classical music
Mar 2, 2023 · Perhaps the most dedicated Viking composer, though, was Icelander Jón Leifs, whose works include Baldr (1947), a dance-drama about the Viking ...
[27]
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Such is the story of Sigurd as it was told a thousand years ago in distant Iceland, and as it is retold in this poem by William Morris.
[28]
Light, Dark, and Grey: Representation of Hero in William Morris's ...
Sep 24, 2018 · The story of Sigurðr, anglicised as Sigurd, occupies the bulk of William Morris's narrative epic poem The Story of Sigurd the Volsung and the ...
[29]
Shadow Moon (Baldur) Character Analysis in American Gods
As the reincarnation of the Norse god Baldur and a manifestation of the mysterious King of America, Shadow acts as a bridge in the novel – between the Old Gods ...