Where is Arcadia? What is Arcadia?
These are fair questions for finding answers.
But most important is the message it has.
Forests of Spirit are found in that land.
The trees have deep roots: tall they will grow,
to touch the sky in triumph and Ascent.
Runes aplently are readily grasped; Continue reading →
That’s how he did it, by hanging from a tree,
how Óðinn won the ancient runes.
He challenges us to change our lives
by seeking those mysteries. And so we must,
by hanging also on a hallowed tree.
But what is Yggdrasil, and where might it be, Continue reading →
Cædmon’s Hymn is a nine-line piece of Old English Christian poetry that uses kenning-like phrases for its deity, such as heavenly kingdom’s warder, glory father, eternal drighten, and mankind’s warder. My thanks go to Mary Ellen Rowe, who pointed out that if you transpose these Old English kenning-like phrases into Old Norse, they sound a lot like kennings for certain Old Norse gods. Upon hearing that, I realized I could make an extremely loose “translation” of Cædmon’s Hymn that heathenized it completely. However, it has ended up as piece that should be considered “inspired by” Cædmon’s Hymn rather than as a translation of it. Also, I’ve named the gods directly in most cases. Like the original, it is in nine lines of continuous verse — which is also just like the sequence of prayers from my last two posts. Here is the result of that experiment, which I suppose could be called “Eirik’s Hymn.” 🙂
Today brings three more short sumbel toasts, one each to Ægir, Óðinn, and Iðunn. All are in ljóðaháttr, and all are two stanzas each, and the stanza break has been removed to avoid confusion. The Óðinn toast features some of his other names. Also, the spellings have not been anglicized this time.
Today brings my tenth audio recording to this blog. This time, it is Gunnlaðarljóð, which was posted as text last November. My recitation uses the original Norse pronunciations of the names instead of the anglicized versions.
I present another poetic rendering of a prose tale from the lore. It is the story of the first (and probably last) giant to challenge Thor to a formal duel, and it has several things in common with the last Thor story I posted three months ago about his visit to Geirrod (part 1 and part 2). Just like that tale, Snorri presents in it prose with many details, and he also quotes from a difficult skaldic poem that mentions the story as well. (The skaldic poem is Haustlöng by Þjóðólfr of Hvinir.)
Rather than a difficult skaldic meter, I have written my retelling in 20 stanzas of my usual and more accessible fornyrðislag. The spellings have been anglicized throughout. It is well known that Odin has many different names in the lore; less well known is that Thor also has many names, although not as many as Odin, of course. The reader will see quite a few of those names in this poem. Like the previous Thor tale, I present the first half here today, and the second half will follow next Wednesday. The poem’s title is simply “The Duel.”
Today’s poem is a lore poem, but one rather different from others posted here. It is a retelling of Odin’s winning of the poetic mead, but instead of following Odin’s point of view (as my poem The Mead Quest did), my poem today follows Gunnlod’s point of view. However, any such tale must necessarily be somewhat speculative. All that Snorri’s Edda tells us about Gunnlod is that her father Suttung put her in charge of guarding the mead (after he got it from the dwarves), and that: “Bolverk went to where Gunnlod was and lay with her for three nights and then she let him drink three draughts of the mead.” (The quote is from the Anthony Faulkes translation.) The Hávamál scarcely tells us more, but there seems to be some implication that Gunnlod helped Odin escape. (See stanzas 13-14 and 104-110 for the somewhat cryptic talk about it all.) The modern day poet must necessarily invent some motivation or other for Gunnlod in this story. We can probably assume she’s unhappy with her father. (A possibly similar father-daughter antagonism seems to be at work in the Welsh tale of Culhwch and Olwen.) She may also have been spell-bound, figuratively or literally, by Odin. Probably other things must be invented as well to finish the story, but I won’t try to make an exhaustive list of it. Suffice it to say that my story here should *not* be thought of as authoritative or canonical. Other Asatruar will probably have different ideas about what Gunnlod’s motives were.
Today I finish the special sequence of elaborate sumbel toasts that I started with a toast to Odin in January and continued with a toast to the Einherjar in September. This third and final toast of the sequence was written for the third round of a typical sumbel, wherein one may present oaths, boasts, or any sort of toast that would not fit in the first two rounds. In particular, one may toast living people, which is disallowed in the first two rounds, as the living are not gods or ancestors while they are still alive! Rather than toast any one particular living person, this final toast is to the living collective of modern heathens known as the Folk. Just like the previous two toasts of the sequence, it is written as a seven stanza ljóðaháttrdrápa with the final stanza ending in a galdralag couplet; the refrain is italicized. As with the other toasts, I have completely anglicized the spelling of the Norse names and words.
To the Folk’s future
forward I look,
and praise the past as well;
A full horn I raise
to the Folk today —
the modern heathen heroes.
In January, I posted a special longer sumbel toast to Odin and said that it was part of a three round sequence of more-elaborate-than-usual sumbel toasts. Today I present the second toast from that sequence, intended for the second round of a typical sumbel, wherein one gives toasts to heroes and ancestors. Like that Odin toast, it is written as a seven stanza ljóðaháttrdrápa, with the final stanza ending in a galdralag couplet; the refrain is italicized. As with the other toast, I have completely anglicized the spelling of the Norse names and words.
Now I turn
my needful praise
to the heroes in Odin’s hall;
With mead I toast
those mighty dead
who eternally fight and feast.
Some may have wondered if there is a particular way in which the poetic calls to the gods should be recited. Of course, anyone trying these in their rituals is free to develop their own style. I prefer a style with a strong rhythm and forceful recitation. For those curious as to how I envision them, I present today an audio recording of five of my calls.