litdesire 2915 group 1: Weeks 1

Tuesday, March 3, 2015

Weeks 1 – 3

Here are the questions for weeks 1 - 3. Please use the comments section to post your answers. Do not make a new blog:

1. What genres do the following texts belong to?

Voluspa, Volsunga Saga, Beowulf, The Hobbit and Lord of the Rings.

Give some examples from these texts that support your identification (for example: "Voluspa is an example of the _____ genre, as the following references to gods from the poem illustrate: "Hear my words / you holy gods' (l.1) "By Odin's Will I'll speak the ancient lore" (l.3), etc).

2. What are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?

3. Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example (remember to site from the original texts).

4. How did Tolkien draw on the Old Norse and Old English texts in his Hobbit and Lord of the Rings fantasy novels? Provide some concrete examples.

5. Discuss how Tolkien's use of "tradition" (e.g. older literary sources) differs from the techniques and agendas of modernism (see Week 7 in your Reader).

6. What place do the old myths have in the modern world?

7. How does the film Beowulf and Grendel "problematise" the hero-myth of Beowulf ?

8. Discuss what you think any of these texts desire (in the sense of their intention, how they wish to be received, what pleasures they offer).

53 comments:

GracePattieMarch 3, 2015 at 1:02 PM
Hi, everyone.

The question that really caught my attention from the above list was #6: "What place do the old myths have in the modern world?"

I immediately think back to my childhood (which wasn't all too long ago!), and to the times that my mother would teach me important life lessons by way of ancient myths. Having read 'Beowulf', and segments of 'Lord of the Rings' and 'The Hobbit', I realise that the myths she used to teach me said life lessons were not as fantasy-based, or as dark, but they were ancient myths nonetheless.

My mind goes back in particular to the story of 'Little Red Riding Hood', which has since been adapted into several films": the cartoons 'Hoodwinked' and 'Hoodwinked Too', the darker (and accidental) adaptation 'Hard Candy', and 'Into the Woods' most recently. I feel that these examples in and of themselves prove that old myths and fairy-tales have been carried forward into the modern world, predominantly due to the morals that they bring with them. 'Little Red Riding Hood' teaches important lessons such as, i, not talking to strangers, ii, being careful who you trust, and knowing that some people may wish you harm, and iii, sticking to the paths you're familiar with so as not to stray off and become lost and endangered.

Do these three morals still ring true today? Yes. Do they teach the rising generation the way they should go? Yes. Do they help parents teach their children in a long-lasting and memorable way? Yes. 20+ years after being taught about the story of 'Little Red Riding Hood' and 'The Boy Who Cried "Wolf!"' have stayed with me because they are unforgettable and haunting.

To be more specific to the texts listed in the questions above, the themes of loyalty, courage,compassion, self-awareness and earnestness flow through 'Beowulf' and 'Lord of the Rings' and 'The Hobbit', as well as the texts I have made mention of here. I believe that these will always be sought-after attributes for the human race, regardless of what time period we live in. If these tales and myths and the morals they hold weren't going to have a far-reaching affect on the human race, how are they able to remain a part of our discourse to this day, throughout many centuries? Why do we continue to share these stories, and impart them to the rising generation? Why do they still nudge our conscience? Because they are TIMELESS and INFORMATIVE.

So, back to the question... "What place do the old myths have in the modern world?" I feel that they have now and will always have a significant place in the modern world. They hold deep meanings and morals and important lessons that will always be applicable.

If you disagree or agree with any of what I've said, please feel free to reply! I'd love to hear your thoughts on my answer.

Looking forward to hearing from you all!
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mike johnsonMarch 3, 2015 at 1:44 PM
Great opening comment Grace. Little Red Riding Hood is not so much as myth as a folk tale, but your point is well made. Myths may be still alive because of their message or the values they express. What values are expressed by the poems and sagas in this unit?
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Courtney AMarch 6, 2015 at 6:15 PM
For some reason, Blogger won't let me post in one comment, so it'll have to be in 2 parts.

I know it’s cliché to start with the first question but I always like the break down a text by exploring where they come from and what categories they can place themselves within, in order to full comprehend the many meanings they carry.

1. Völuspá is an example of the Folklore genre, specifically to the subcategory of myth, as the piece directly references to Gods and Goddesses: “Hear my words / you holy gods” (l.1), Then the holy Gods met to give judgement” (l.22), “Odin gave life’s breath / Hoenir gave mind / Lodur gave hair / fairness of face” (l.33-34) and so forth. Also typical for the style of folklore and myth, it tries to account for how something came into being. In this particular piece, it describes the beginning of the creation of the nine worlds, man and Asgard. It also goes on to describe the battle and mutual deaths of Thor and the serpent, the giants daughters that broke into Asgard’s walls and Ragnarock, while referencing other important figures within this mythological world such as Yggdrasil, Johetheim, and Garm, which gives a general overview of Old Norse Mythology.

2. Beowulf is an example of an epic poem which has 9 main characteristics as outlined by Smith (n.d)
• The setting is vast, covering many nations, the world or the universe
• Begins with an invocation to a muse, usually a god. In the case of Beowulf it begins with “Lo, praise the prowess of people-kings” (Literature Project, n.d) so the invocation to the kings of the time, particularly Hrothgar and eventually Beowulf himself when he becomes king.
• Is often written in a formal style because it deals with serious cultural issues. It touches on the issues and consequences of war and pillaging.
• Uses epithets such as “Slick skinned Dragon” (para 7, l.3) and “high-born race” (para 4. l.15) is used to modify the nouns in the discourse.
• Includes allusion, “He outgrappled the monster and his evil kin” (para 11, l. 9-10) alludes to the previous fight Beowulf had with Grendel and Grendel’s mother in his younger escapades.
• Uses formal speeches. Beowulf speaks about his earlier days and conquests in a formal manner and continues for 9 lines from the point of “Many a skirmish I survived…or my own Hygelac” (para 17, l.2)
• Shows supernatural elements that are key to the events of the poem. “The slick-skinned dragon” (para 7, l.3) have a direct effect on Beowulf when it terrorizes his land, and causes him to fight again.
• Hero that embodies civilization. As Beowulf was not born of nobility and acted the Kings ward, he can be considered an ‘every-man’ on behalf of the civilization.
• The story begins at the central point of the story or at the conclusion and never at the beginning. Beowulf does give a brief description of previous events “Hygelac fell…the wide kingdom reverted to Beowulf” (para 1, l.2), is starts in the second half a Beowulf’s life, when the goblet is stolen from the Dragons’ hoard of treasure “he had handled and removed a gem-studded goblet” (para 3, l. 7)

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Courtney AMarch 6, 2015 at 6:15 PM
3. The Hobbit is an example of Fantasy Fiction which classically contain monsters, magic, kings and other supernatural elements that has come from an authors imagination such as “the marauding fire of the Dragon (para. 4, l.2), “sung about the dwarves” (para. 13, l. 5) and “Girion, Lord of Dale” (para. 16, l. 3). Fantasy fiction can be based on other genres, such as myth or Legends and can echo elements featured in these other genres.

4. Lord of the Rings is an example of Adventure Fantasy Fiction as it is the sequel to The Hobbit the author relies on magical elements from this world, such as Dwarves (“Gimli, son of Glóin”), wizards (“Gandalf the Grey”), Elves (“Legolas”), Dragons and Orcs to further the tales of “Middle Earth”.

5. Volsunga Saga is an example of Folklore, belonging to the subcategory of legend which could have been true at some point in time but has been exaggerated, as it mentions Odin as Sigurds’ supposed great great grandfather and supernatural elements, such as Fafnir turning into a dragon (known as a ‘worm’ as in “thrust the worm’s heart through” para.8 l.4) and “some are of Elfin kin” (para.24, l.2)

Reference List

Literature Project. (n.d.). Beowulf -- PRELUDE OF THE FOUNDER OF THE DANISH HOUSE. Retrieved March 7, 2015, from http://literatureproject.com/beowulf/beowulf_1.htm

Smith, M. D. (n.d.). The Odyssey: Notes on epic characteristics and the epic hero. Retrieved March 7, 2015, from http://pre-ap-eng-9-05.hylton.groupfusion.net/modules/groups/homepagefiles/profile/12427/3917/File/Microsoft%20Word%20-%20Introductory%20Notes%20on%20the%20Epic%20and%20Epic%20Hero1.pdf?sessionid=88cc885a4bef66aefab3797269314ce4
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mike johnsonMarch 10, 2015 at 2:16 PM
We cannot be sure to what extent the original audience believed literally in the Ash Tree (which is analogous to the Christian Tree of Life) and the adventures of the God/Heroes. I suspect they did take the stories literally, the way some Christians take the Garden of Eden story.
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Courtney AMarch 12, 2015 at 2:02 AM
3. Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example (remember to cite from the original texts).

There is an evident recurring symbol within each of these texts that surrounds major plot points, which are accursed rings or cycles that lead to death of characters or important character traits that were evident at the beginning of the prose.

Beowulf becoming a “ring-giver”

“They stretched their beloved lord in his boat,
laid out by the mast, amidships,
the great ring-giver. Far-fetched treasures
were piled upon him, and precious gear (34-37)” (Heaney, 2000)
While this phrase found in Beowulf is regarding the description of Hrothgar, it bears a strong connection to Beowulf. The archaic phrase “sinc-gyfan,” or ring-giver, (Harrison, n.d) describes a King or powerful overlord, and at the time the phrase it used, it is Hrothgar. However as Harrison (n.d) goes on to note “is prevalent throughout the entirety of the Old-English masterpiece Beowulf, both during his service to Hrothgar and his own time as ruler of the Geats. This concept of loyalty to the ring-giver serves to provide a great deal of the underlying cultural metaphor to the work, as well as acts as the driving force behind the tragedy of the poem’s end.” In essence, by taking the position of the King of the Geats, it was his duty to battle the Dragon that was laying waste to his lands which inevitably lead to his end.

Thor fighting Jörmungandr; the ouroboros serpent

“Far-famed Thor, the son of Earth, the son of Odin, goes forth to fight the snake. Midgard’s defender dies triumphant, but the human race no longer has a home: nine steps beyond the serpent’s body, Thor, wounded, walks in pride.”
Much like Beowulf Thor meets his end versing a mighty serpent in order to protect his home, Migard, from Jörmungandr – the serpent that controls the tides. The ring symbolism is again apparent more indirectly as Jörmungandr is an ouroboros serpent; he circles the world of Midgard at a length that that his tail was clasped in his mouth, maintaining the circle and by extension the cycles of the tides. Once that connection is broken, Ragnarök begins and Migard sinks into the waters as the tides are no longer in their cycle. Much like Beowulf, Thor overpowers the serpent but only lives for nine steps before meeting his own death.

Fafnir stealing the Were-gild ring

As seen in Chapter XIV: Regin's tale of his Brothers, and of the Gold called Andvari's Hoard of the Völsunga Saga (as cited in THE STORY OF THE VOLSUNGS, n.d)
"So Loki beheld the gold of Andvari, and when he had given up the gold, he had but one ring left, and that also Loki took from him; then the dwarf went into a hollow of the rocks, and cried out, that that gold-ring, yea and all the gold withal, should be the bane of every man who should own it thereafter.
"Thereafter," says Regin, "Fafnir slew his father and murdered him, nor got I aught of the treasure, and so evil he grew, that he fell to lying abroad, and begrudged any share in the wealth to any man, and so became the worst of all worms, and ever now lies brooding upon that treasure: but for me, I went to the king and became his master-smith; and thus is the tale told of how I lost the heritage of my father, and the weregild for my brother."
So spake Regin; but since that time gold is called Ottergild, and for no other cause than this.”
Unlike Thor and Beowulf, Fafnir is not a hero but the villain and a victim to his own greed. The taking the cursed blood ring from the weregild (or Ottrgild) given by the trickster-god, Loki, stirs the major plot point for Fafnir, wherefore after he steals it from the pelt he becomes a deformed character and takes on the shape of a dragon. Due to this, Sigurd is charged with the task of slaying his friend who is perceived as an evil, murdering monster and threat, with his hoarded gold a possible bonus for the deed. This conflict leads to their mutual deaths.
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Courtney AMarch 12, 2015 at 2:03 AM
Bilbo finding the One Ring

“Its time had now come. It abandoned Gollum. But then something happened that the Ring did not intend. It was picked up by the most unlikely creature imaginable. A hobbit, Bilbo Baggins, of the Shire.” (Tolkien, 1991)
Now unlike the previous texts, this ring does lead to the deaths of many characters, including its creator, Sauron but does not include a direct conflict with him or the death of the hero, Bilbo Baggins, who eventually bequeaths the ring to his nephew, Frodo Baggins to follow along in the Lord of the Rings Saga.
Also, unlike the previous texts, the ring saved the hero when first used. Saving Bilbo from both Gollum (a creature of whom once was a hobbit himself) who was stumped by a riddle that was a barter for his life, and a pack of goblins, whom he evaded by disappearing; a quality that is gained by the wearer by the donning of the ring.
However, as the story continues, it becomes apparent (as in the beginning of Lord of the Rings) that Bilbo succumbs to the evil within the ring - much like Fafnir but not the same extent - expressing traits similar to Gollum, such as repeating the phrase “My precious” when he is asked to leave it to Frodo. This is indeed, a strong contrast to how Bilbo was described by Gandalf before his journey with the dwarves:
“Some believe it is only great power that can hold evil in check, but that is not what I have found. It is the small everyday deeds of ordinary folk that keep the darkness at bay. Small acts of kindness and love. Why Bilbo Baggins? Perhaps because I am afraid, and he gives me courage.” (Tolkien, 1991)

Courage shown much like those of Beowulf and Thor, that however, slowly eroded with time which could imply a slow death of his character, while he himself conducts no bad deeds, nor suffers from mortal wounds resulting from the ring; he indeed begins to lose his resistance from the ring and becomes closer to transforming a monster (like Fafnir, and Gollum) that could have eventually lead to his death.

Frodo bearing the One Ring

“I wonder if people will ever say, "Let's hear about Frodo and the Ring." And they'll say, "Yes, that's one of my favourite stories. Frodo was really courageous, wasn't he, Dad?" "Yes, m'boy, the most famousest of hobbits. And that's saying a lot.” (Tolkien, 1965)
Much like Bilbo, Frodo did not meet his end by the means of the ring; however his entire journey is build upon courageous the task of taking the Ring to Mordor to be destroyed in the fiery pit. Similar again to Bilbo and to some degree, Fafnir, Frodo slow begins to feel the weight of the ring over take his will; “You are wise and fearless and fair, Lady Galadriel,' said Frodo. 'I will give you the One Ring, if you ask for it. It is too great a matter for me” (Tolkien, 1990)
However, unlike Bilbo, Frodo manages the task without totally succumbing to the ring, at the cost of a few companions lives before and during the fight at Mordor. A slow death of his innocence, leading onto his decision to leave his beloved Hobbit Shire and accompany Bilbo and Gandalf and the elves to the Undying lands as they had become weary of their adventures and their suffering due to the ring.

Reference:

Harrison, P. N. (n.d.). Ring-Giver: Bestowed Physical Identity in Beowulf. Retrieved March 11, 2015, from http://www.academia.edu/2006083/_Ring-Giver_Bestowed_Physical_Identity_in_Beowulf_

Heaney, S. (2000). Beowulf: A new verse translation. New York: Farrar, Straus, and Giroux.

THE STORY OF THE VOLSUNGS, (VOLSUNGA SAGA). (n.d.). Retrieved March 12, 2015, from www.gutenberg.org/files/1152/1152-h/1152-h.htm#link2HCH0

Tolkien, J. R. (1965). The two towers: Being the second part of The Lord of the rings. Boston: Houghton Mifflin.

Tolkien, J. R., & Inglis, R. (1990). The fellowship of the ring. Prince Frederick, MD: Recorded Books.

Tolkien, J. R., Inglis, R., & Recorded Books, Inc. (1991). The hobbit. Prince Frederick, MD: Recorded Books.
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GracePattieMarch 14, 2015 at 2:38 AM
Question 3: Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example.

Courtney- I think you did an excellent job of tackling this question! Though I find these texts a little difficult to wrap my head around, I particularly liked how you managed to find the link of the ring being a symbol (perhaps even of eternal, infinite possibilities). I think, going along with that, just the idea of gold in general- and related treasures- is brought up repeatedly throughout each of the texts above. It is spoken of with almost a sacredness, in a similar attitude as to how the rings are mentioned.

On page 5 of 'Beowulf', for instance, it is stated: "...then back in he'd go in search of the cup, only to discover signs that someone had stumbled upon the golden treasures." Some might say that "golden" and "treasures" are synonymous, but "golden treasures" is a combination of the two, making gold invaluable.

In 'The Hobbit', mention was made of gold in the line where it says, “Then suddenly a great light appeared... and the northern end of the lake turned golden... rivers golden run! The river is running gold from the Mountain!" (page 234).

Then, in 'The Lord of the Rings', "...a glint in the rising sun, a glimmer of gold.” (Page 13). Even just the mere mention of gold as an aspect of this environment brings hope and brightness.

In 'Volsunga Saga' it says, ʺ...in angry wise dost thou take my speech; but hearken, for that same gold which I have owned shall be thy bane too.” (Page 10). This line actually seems like more of a threat, perhaps?

Finally, mention of gold is again made in 'Voluspa': “She sees a hall, fairer than the sun, thatched with gold; it stands at Gimle. There shall deserving people dwell to the end of time and enjoy their happiness." (Page 3). I especially enjoy the symbolism in this line, because it directly links gold and its precious nature with happiness and joy, as thought the path to heaven is marked by shimmering gold. (I can't help but think of the yellow brick road to Oz in 'The Wizard of Oz'!)

I'm hoping I've got the right end of the stick here. Please let me know your thoughts and comments in a reply to this comment. Thanks!
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UnknownMarch 14, 2015 at 3:37 PM
What are some possible features of residual/secondary, orality preserved in Voluspa, according to the criteria Ong advances?

In the modern age, old texts such as 'Voluspa' are no longer preserved orally in relation to the culture of origin. One of the reasons for this is that the text was written down, and then translated into another language, for modern understanding. In addition, our modern understanding is limited as we are so literate it is difficult to decipher the oral world of communication and thought, (Ong, W., 1982). There may be inconsistency's between each forms of text, from spoken word, to written words, to a translation of meaning, but 'Voluspa' still retains aspects of its supposed original format. The format of 'Voluspa' being primary oral in its delivery. By looking at sections of the 'Voluspa' one could take key words and its meaning to indicate it was spoken.

"Hear my words, you holy gods,
great men and humble son of Heimdall;
by Odin's will, I'll speak the ancient lore,
the oldest of all that I remember."

-Voluspa, 1:1-4

Within this section there are two key parts of modern interpretation that indicate orality; "Hear my words", and "I'll speak."
"Hear my words" provides the idea that one must use their ears, they must listen, and so sound is produced to deliver the message. "I'll speak," again is generally referred to a message being spoken. Not only are these phrases produced within the sphere of primary orality, but it has a sense of intimacy.

When an aspect has intimacy it has a close relationship, whether it is physically intimate, (close proximity) or mentally intimate, (close relation). Without the full knowledge of the culture the text comes from, determining the level of mental intimacy is difficult but accompanies physical intimacy. But one could determine how the messenger delivered the message. With orality comes intimacy, as when someone needs to be in the presence of the other to communicate. And the communication would consist of not only words of mouth, but expressions and gestures.

The amount of understandable parts of the message spoken is increased and so a relationship can be formed upon comprehension or agreement. Therefore, when people are together physically intimacy is present in all forms. Ong (1982) states writing is a "complement to oral speech, not as a transformer of verbalization," (via Saussure, 1959; p.5).

As stated earlier someone had to be in close proximity to "Hear my words." This phrase is an imperative and therefore a command for the audience. Commands are generally more impactful when spoken directly to the individual. Another aspect that indicates orality preserved is the gaps in the sections. The gaps have a slightly different function than the commas. The commas are more for structure of sentences and do not portray the style of delivery. The gaps are a personal marker of the speaker as they pause, usually for effect.

When orality is concerned, open speeches are delivered to a mass of people. An aspect of 'Voluspa' suggests an audience was present by the use of 'men.' The plural indicates multiple people were present when the message was delivered.

With these concepts in mind, one could argue 'Voluspa' was indeed an oral form and still preserved in literacy through written indications of orality.

Ong, W. (1982) Orality and literacy: the technologizing of the word. London: Methuen. p. 1-15

Note: I didn't formulate my ideas as well as I would have liked but I hope it's clear. I chose this question because I thought understanding Orality and Literacy would help me with the texts to study.
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UnknownMarch 14, 2015 at 4:27 PM
What place do old myths have in the modern world?

There is no such thing as originality in story telling. As a Creative Writer this is something I know well. Old myths in this sense are more or less the base of multiple parables put together. Myths like the Odyssey and Beowulf are legends of Heroes, and Hero stories influence the audience. Everyone likes to think they are the Hero of their story and dream to be Heroes. This may be why strong characters, who make a significant impact in the society they reside, are popular. Each scene of a story is a parable and the collective contributes a multitude of lessons.

Stories have many uses such as; delivering a message, sharing grand news of great events, pushing a specific perspective, portraying morals and values. This all contributes to the delivery of lessons. Someone cannot learn nothing from a telling whether they agree with it or not. Myths expand out knowledge of the world, of the past and future.

Old myths being the foundation of grand tales, has resonated throughout history. The fact that the Odyssey and Beowulf are being studied today indicate their place in the modern world. They help bridge the gap between the modern world and that of the past. Without the past there would be no future as the developments over history push society to expand upon the foundations. Diachronic myths are a reflection of the society in the time it was told.

As mentioned earlier, myths provide lessons. These lessons are regurgitated in various forms* to fit the comprehension of the current audience. Themes of Greed, Lust, Loyalty (etc.) are common concepts to portray messages yet stories are continuously made around them. Myths of the past consist of practices the modern world disapproves of and therefore the message is distorted through unrelatable circumstances. The reason being is the stories have to be relatable for the audience to understand.

Essentially myths are the progenitor of the stories the modern world.

Note: I wrote this informally and it's short, but I hope you will understand the perspective I'm trying to put across.

* Referring to novels and other forms of texts. This includes a multitude of genres; fantasy and Sci/Fi.
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Courtney AMarch 17, 2015 at 10:45 PM
------4. How did Tolkien draw on the Old Norse and Old English texts in his Hobbit and Lord of the Rings fantasy novels? Provide some concrete examples.

Tolkein drew many ideas and concepts from the Old Norse and Old English texts in order to sanction a vague idea of the possibility of what Old English mythology might have looked like, these became the fantasy novels known as The Lord of the Rings and its’ prequel The Hobbit.

Setting

An important aspect of any novel is the world in which the heroes and villains will interact with each other. In Voluspa the Norse Mythology is explained in its’ entirety from is creation of Asgard, then the nine realms from “nine roots / under the earth where the Ash Tree rises” (L.7) and then Midgard, “men’s fair dwelling” (L.14) (The Story of the Volsungs – Volsunga Saga, n.d.). Midgard is important in both in the Old Norse mythology as the home of the man dwelling and also Thor, the hero of Midgard, but it was also the key inspiration for Middle Earth, the world in which The Hobbit and Lord of the Rings are set. ‘Mid’ –meaning ‘middle’ and ‘gard’ – meaning ‘earth’ or ‘land’; implying that Tolkien took a direct translation of Midgard as a base for his adventures for the both Bilbo and Frodo Baggins of which they both become protectors of.
Above the land of Midgard is Asgard; the home of the Norse gods and the Aesir of which Tolkein used as a base idea to construct Valinor, also known as the Undying lands. Asgard is said to be a place of peace, which is mirrored in Valinor, as Frodo and Bilbo are allowed to venture there to receive peaceful rest from their adventures that cannot have been found in Middle Earth. Tolkien also directly applied many key features of Asgard, such as the immortality of the Aesir, which can be seen in the elves whose time stops as soon as they reach the Undying lands, and are free to live immortal lives as they please. (Wettstein, 2002)
Surrounding the land of Midgard is Johetheim, the land of the giants, which seems to echo that of the Misty Mountains in Middle Earth. The Misty Mountains also directly appear in the “Lay of Skirnir” in the “Poetic Edda”, a collection of Old Norse poems where the hero is warned of the giants in the Mountains. (Wettstein, 2002)

Objects

Runes
Runes were of common use in the time of Beowulf which is much reflected by the dwarves of Middle Earth in The Hobbit. Much like our alphabet or phonetic script, runes were a collection of characters that were understood and used as phonetic sounds, and were composed of easy-to-carve straight lines as opposed to the curves that would have been more difficult to shape and would’ve taken more time. This is mainly due to the fact that they were designed to appear on messages, maps and to inscribe weapons much like those featured by Tolkein; ie bows, arrows, quivers, axes, swords and so on. (Abee, 2012)
Weapon inscription follows the belief of the existence of magical runes that bequeath or enhance the power on items such as swords; which was the purpose of engraving ‘Sting’ Bilbos’ magic sword which glowed blue when Orcs were nearby, and rings which can be seen on ‘The One Ring’ when is it dowsed in fire. Odin was noted of this using this ability in Hávamál, in the lines: "The runes you must find and the meaningful letter, / a very great letter, / a very powerful letter, / which the mighty sage stained / and the powerful gods made / and the rune-master of the gods carved out." (para. 142 adapted from Poetic Edda cited by Seigfried, 2010) This belief extended to every-day items like helmets, boots and armour, hosting runes, hoping it would make the item last for a longer time. (Wettstein, 2002)

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Courtney AMarch 17, 2015 at 10:46 PM
Enchanted weapons
As I mentioned above, inscribing ‘Sting’ Bilbo’s’ sword, enchanted the weapon, much like that in Beowulf. Beowulf used an enchanted sword when battling and defeating Grendel’s mother, of which he renounced upon his death after defending his home from a Dragon. Bilbo did much the same with Sting by leaving it to Frodo after his adventures in The Hobbit. As Abee (2012) goes on the note “In both cases, the gesture can be seen as symbolic, passing down responsibility. Frodo took Bilbo’s place as adventurer and hero, and Wiglaf took Beowulf’s place as leader of the Geats.”

Rings
The ‘One Ring’ is the key aspect of The Hobbit as it saved Bilbo’s life goes on to star in The Lord of the Rings as it drives Frodo’s journey to Mordor. This all powerful ring that controls the rest is familiar in Norse myth as Odin, the leader of all the gods, owned a magical ring which multiplied every ninth night so there would always be nine rings, much like the nine rings for mortal men which Tolkein (1990) wrote: ''Three Rings for the Elven-kings under the sky, / Seven for the Dwarf-lords in their halls of stone, / Nine for Mortal Men doomed to die, /One for the Dark Lord on his dark throne. / In the Land of Mordor where the Shadows lie. / One Ring to rule them all,/ One Ring to find them, / One Ring to bring them all and in the darkness bind them. In the Land of Mordor where the Shadows lie." It was believed that Odin’s ring had the power to rule the world, much like of the ‘One Ring’ if it ever reunited with its master. (University of the Highlands and Islands, n.d.)
There is also Andvaranaut, in the Volsunga Saga. An accursed ring Loki gives Otr’s father as part of wergild for the murder of his son. Loki, being the trickster god, is aware of the curse as he was fore- warned by the dwarf whom he received the artefact. “The gold ring would be the death of whoever owned it, and the same applied to all the gold,” granting the ring some magical ability, and like ‘The One Ring’ during The Lord of the Rings it gave the bearer much misfortune. (Seigfried, 2010)

Creatures

The mythological Norse world is home to more than just humans, much like the world in Tolkein’s Middle Earth, exists many diverse creatures.

Wizards
The 5 wizards of Istari were mentioned in The Lord of the Rings, but the main wizard that has the most influence over the two main hero Hobbits is Gandalf. Like many of the names used for his characters, Tolkein drew his name drawn from the poem Voluspa which at the time was addressing a dwarf however, this name can be understood as “magic elf” or as “the elf with the long staff”. It has been suggested, that Gandalf is also designed to reflect that of Odin: who was understood as having the ability to travel all the worlds in various shapes, including as an old man. (University of the Highlands and Islands, n.d.)

Elves
Norse Elves are magical beings that are rarely seen in Midgard and as a result, men knew very little about them. While a race of elves appear in the Volsunga Saga, as “some are of Elfin kin” (para. 24, l.2) Tolkien mainly adopted the ideas of Norse elves as the basis for The Lord of the Rings. The Light Elves and their land Elfheim was renamed to Eldamar, and the Dark Elves were destined to reside in Middle Earth. The histories and stories of the Elves themselves was composed by only Tolkien himself, he took many names from Norse. (Wettstein, 2002)
The high elves also practised a sense of Animism, which is also derived from Norse and practised by the Celts. They believed that anything and everything; animals, plants, and objects possessed a strong, individual spirit which filled the world with a magical presence, much like that of Middle Earth. The Celtic druids were believed to possess magical powers stemming from these beings and therefore lived closely within nature, becoming advisors or healers. (Abee, 2012)
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Courtney AMarch 17, 2015 at 10:47 PM
Gollum
Gollum, the creature living in the darkness of the ring and dwells in caves certainly had similar traits recognisable in one of the four texts – Beowulf. Where, one could argue, that Gollum bears a striking resemblance in features as illustrated by Abee (2012) as “both creatures are described as having some physical human-like traits, and both live in the dark, shadowy places deep in the earth. Both creatures are also outcasts who loathe humanity. Although Gollum is not as fierce as Grendel, the small creature does crave human flesh, as he shows when he threatens to eat Bilbo.”
They also bear similarities in their backgrounds which lead them to their predicaments and direct involvement with the heroes of each text; such as being shunned by society and both have undertaken monstrous transformations; Gollum came from a line of hobbits, much like the Hobbits from Bagg-end, and Grendel came from a line of humans as it is said he is a descendant of Cain from the Bible. (Abee, 2012)

Giants
In Norse myth, giants had a major role right at the beginning through Ymir whose body is torn to pieces and is used to compose Midgard. As Schmoop (n.d) cites, “the story ‘The First Gods and Giants’ tells how Ymir was the first being to emerge from fire and ice that whirled in Ginungagap, the in-between land. The beings that come after him, the Aesir gods (including Odin) decide that they can't begin their creation until they kill Ymir, who has always been wild and crazy, but has become totally uncontrollable in his old age.” However, the giants were never so grandiose, and Middle Earth was never constructed in such a manner. However they did exist in Tolkein’s world, where they resided in the Misty Mountains of Middle Earth.

Dwarves
Dwarves are a staple in Norse Mythology as they were said to live in caves or mines in the mountains where they dig for gold nuggets or precious jewels. It is said that the gods turned the maggots that were rotting the giant Ymirs corpse into dwarves, who were designed to live in dark caves and under the soil, and provide the gods with gold, silver, jewels and iron which is why they continuously dig. (Schmoop, n.d)
They are also known to be very skilled craftsmen and have the ability to forge magical weaponry such as Mjölnir, Thors heavy hammer and Draupnir, Odins magical ring that was mentioned earlier. Legendary weapons in Old Norse usually bear special names given to them by their wielders, which is mirrored in The Hobbit by Bilbo’s sword, affectionately given the name ‘Sting’. (University of the Highlands and Islands, n.d.)
The names of the Dwarves and a few other major characters, Tolkien obtained mainly from Voluspa, the first poem of the Poetic Edda, paragraph 14:
“Motsognir was their mighty ruler,
Greatest of dwarves, and Durin after him :
The dwarves did as Durin directed,
Many man forms made from the earth.
Nyi and Nidi, Nordri, Sudri, Austri and Vestri, Althjof, Dvalin, Bivor,
Bavor Bombur, Nori, An and Anar, Ai, Mjodvitnir, Veignr and Gandalf,
Vindalf, Thorin, Thror and Thrain, Thekkur, Litur, Vitur, Nar and Nyradur,
Fili, Kili, Fundin, Nali Hefti, Vili, Hanar, Sviur, Billing, Bruni, Bildur,
and Buri, Frar, Hornbori Fraegur, Loni, Aurvangur, Jari, Eikinskjaldi:
(All Durin's folk I have duly named,)
I must tell of the dwarves in Dvalin' s host;
Like lions they were in Lofar's time:
In Juravale's marsh they made their dwelling,
From their Stone hall set out on journeys,
There was Draupnir and Dolgthrasir, Har, Haugspori, Hlevangur, Gloi, Dori,
Ori, Dufur, Andvari, Skirvir, Virvir Skafidur, Ai, Alf and Yngvi,
Eikinskjaldi, Fjalar and Frosti, Finn and Ginnar: Men will remember while
men live
The long line of Lofar's forbears.” (Larrington, 1996)

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Courtney AMarch 17, 2015 at 10:49 PM
Dragons
In the Volsunga Saga, Sigurd tells his tale of meeting the dragon Fáfnir who uses and answers in riddles. This is very similar in the way that Bilbo meets Smaug in The Hobbit; "I come from under the hill, and under the hills and over the hills my paths led. And through the air. I am him that walks unseen." (Tolkein, 1991)
Dragons were also very symbolic to the Anglo-Saxons and were viewed as sign of death, and was claimed to be the guardian of graves, as the peoples often buried their dead with personal possessions and riches. Therefore the dragon watched over the buried treasure and the dead. In this respect, Smaug displays a very strong desire in gold and riches, very similar to the dragon in Beowulf and Fafnir. All guard a horde of valuable items, and from Smaug and the dragon in Beowulf a jewelled cup was stolen leading them to set fire to the countryside. (Abee, 2012)
The weakness of the dragon are also mentioned the Old Norse story, as Sigurd slays Fáfnir by digging a pit to hide himself until the dragon comes, and then stabbing it from its’ underside belly where there are no scales. The Hobbit similarly reveals that Smaug’s weak spot is on his underside where he is killed by an archer. (University of the Highlands and Islands, n.d.)

Tolkien drew many motifs from Norse and Old English texts to form The Lord of the Rings and The Hobbit, this strong influence is apparent through these differing aspects that compose his stories in order to estimate what English mythology may have looked like many thousands of years ago.

Reference

Abee, H. (2012). The Hobbit, Lord of the Rings, and Beowulf - connections. Retrieved March 18, 2015, from http://hubpages.com/hub/The-Hobbit-Lord-of-the-Rings-and-Beowulf-connections
Coomaraswamy, A. K., & Thordarson Collection. (1909). Völuspa: done into English out of the Icelandic of the Elder Edda. Broad Campden: Essex House Press.
Heaney, S. (2000). Beowulf: A new verse translation. New York: Farrar, Straus, and Giroux.
Larrington, C. (1996). The Poetic Edda. Oxford: Oxford University Press
Schmoop. (n.d.). Setting in Norse Creation Myth. Retrieved March 17, 2015, from http://www.shmoop.com/norse-creation-myth/setting.html
Seigfried, K. (2010). The Norse Mythology Blog: THE HEROES, Part Four | Articles & Interviews on Myth & Relgion. Retrieved March 18, 2015, from http://www.norsemyth.org/2010/05/heroes-part-four.html
Seigfried, K. (2010). The Norse Mythology Blog: ODIN & THE RUNES, Part Three | Articles & Interviews on Myth & Relgion. Retrieved March 18, 2015, from http://www.norsemyth.org/2010/03/odin-runes-part-three.html
THE STORY OF THE VOLSUNGS, (VOLSUNGA SAGA). (n.d.). Retrieved March 12, 2015, from www.gutenberg.org/files/1152/1152-h/1152-h.htm#link2HCH0
Tolkien, J. R., & Inglis, R. (1990). The fellowship of the ring. Prince Frederick, MD: Recorded Books.
Tolkien, J. R., Inglis, R., & Recorded Books, Inc. (1991). The hobbit. Prince Frederick, MD: Recorded Books.
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mike johnsonMarch 24, 2015 at 2:24 PM
Wonderfully full answer here, Courtney. You have covered all the major points of correspondence. Perhaps what these things add up to is that Tolkien adopted the whole heroic vision of the old Norse and English texts, perhaps wanting to revive that spirit for the modern age. Amazing how so many of these features, quests or magic objects, imaginary creatures, special weapons and so on, have all become stock feature of modern fantasy novels which seem to express some nostalgia for that more heroic age
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UnknownMarch 24, 2015 at 2:32 PM
Question 6: What place do old myths have in the modern world?

Many people get mixed up with the 3 terms, myths, legends, and folktales. So what makes myths different from the others? “A myth is a traditional story, which may describe the origins of the world and/or of a people. A myth is an attempt to explain mysteries, supernatural events, and cultural traditions. Sometimes sacred in nature, a myth can involve gods or other creatures. And, a myth represents reality in dramatic ways.” (http://classiclit.about.com/cs/10th14thcentury/a/aa_definemyth.htm).

Arguably, there can be many connections made between Voluspa and the bible. E.g. the whole creation taking place at the beginning when God breathed life and everything came to life and he named things by their rightful names. And again in Voluspa we see that “the holy gods took counsel together: they named night, and night’s children” (pg 2). And as the song progresses we see other similarities or familiar characters. But nowadays these myths and stories are preserved and remade into films such as, Thor, which are mighty heroes who are portrayed as gods who can do anything. Though there may be apparent similarities, people of different cultures and worlds have the right to their own interpretations.

I find that there is a great influence of myths within ‘cultures’. In my own Tongan culture and like many other Pacific Island cultures we have a strong sense of myths and legends that help to shape our outlook on the world and others around us. For example, we have a Tongan myth called ‘Aho’eitu koe ‘uluaki tu’i ‘o Tonga’ which translates ‘Aho’eitu the first King of Tonga’. The story goes that there was a young boy named ‘Ahoeitu who had a human mother and a god for a father. Growing up, he would always ask his mother about his father and she would simply tell him that his father was a god living in the sky above them. When the boy grew older, his mother told him to climb the great ‘toa’ tree and crossed the road and found his father catching birds (or doves in some translations). Soon after he met his father, his father told him to go to the house where his other brothers were and he will meet him back there. When his brothers discovered that he was their brother, they became jealous and killed him then made a meal of him. When father returned home, they lied to him saying that they didn’t know where he was. But soon the father found out and forced his sons to tickle their throats and then to vomit into a large wooden bowl. These were the remains of ‘Ahoeitu‘s body. They got his head and his other bones and put it together in the same bowl. Water and leaves of nonufiafia (a medicinal plant used to revive dead people back to life) was poured into the bowl. The bowl was put behind the house and they would visit it from time to time. Finally they found ‘Ahoeitu alive. The god told his sons off for what they did and as their punishment, they had to serve their younger brother, ‘Ahoeitu, for the rest of their lives.
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mike johnsonApril 21, 2015 at 2:33 PM
I love the story of the first King of Tonga. These stories are richly symbolic. As for the connections between Voluspa and the Bible, I think the comparison is a bit stretched. We have monotheism (Judaism, Islam and Christianity) versus the Polytheism of the Norse Myths. All tales of creation, from the Hindu to Buddhist to more local religions, share some common elements, as you might expect. But there are great differences too.
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UnknownJune 11, 2015 at 3:49 AM
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UnknownJune 11, 2015 at 4:23 AM
8. Discuss what you think any of these texts desire (in the sense of their intention, how they wish to be received, what pleasures they offer).

Every style of text is written with the purpose to make the reader feel or think in a certain way, either to feel a certain way about a character or to make it seem desirable. Often the purpose is to make the viewer identify themselves within the context of the text.
“Desire and motivation are essences of good storytelling, and are among the most defining features of literary “. (Coles, 2009) Desire is a crucial part of an author’s story telling process, without creating an illusion or scenario for the reader, the text becomes hard to relate to and essentially a less engaging, thought provoking piece of literature. The intentional desire created in literature is what allows the reader to get trapped in the world that the text is set in.

The poem Voluspa is written in a way that portrays the desire of heroism and bravery. The intention is to give the idea of being a hero as a desirable trait to the reader. The text is particularly powerful in its delivery of the idea that being courageous and heroic is admirable and to be desired. The text praises the work of the heroic characters and from the very first line of the poem, praise is given and they are portrayed positively in an admirable way. The idea of heroism being desirable is introduced in the first line by the lines “Hear my words, you holy gods, great men and humble sons of Heimdall;”

The poem goes through the actions of the hero and portrays the movements in a desirable way. The intention is to lead the reader not only to admire the heroism and courageousness of the hero, but to desire heroism in themselves. The key is for the reader to identify themselves with the poem and relate to the message being translated. Voluspa offers the reader pleasure in acknowledging the humble bravery of the hero as they identify themselves with these traits.

Voluspa is continuously praising the action of the hero and is always done so in a humble manner while also praising the idea of community work “Then Bur’s sons lifted up the land”. By relating a sense of community with heroism the reader is more likely able to relate.

I think there are many possible desires the text could pose, but I think the desire to be a courageous and brave hero is certainly most powerfully defined throughout.

References

Coles, W. (2009). Desire and Motivation. Retrieved from story in literary fiction: http://www.storyinliteraryfiction.com/essays-on-writing/desire-and-motivation/
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UnknownMarch 20, 2016 at 6:35 AM
J.R.R Tolkien drew heavily on the old Norse texts, often quite literally. What is most important, however, is his representation of ideas in Norse and old English mythology by the lifting of certain motifs and ideas.

One such idea was the motif of the ‘Cursed Object’ or, more specifically in this case, ‘Cursed Ring’. The Andvaranaut was a ring spoken of in the Poetic Edda of Norse Mythology. It was given as part of the ‘weregild’ given by Loki in reparation for the slaying of Otr, a shapeshifter with an even more storied family. Fafnir, brother to Otr, would go on to slay his father, Hreidmar, for the pile of weregild, enchanted by the effects of the ring and the gold with it. Fafnir would then go on to become paranoid and hide away into the forest with his gold, where he would slowly morph into a dragon, warped by the evil power of the ring. This has its parallel in The Hobbit and The Lord of the Rings with the character of Gollum. Gollum, originally called Smeagol, was a water hobbit who lived with his brother Deagol. One day, Deagol found a ring while on the river they lived by. This ring turned out to be The One Ring, cursed by the power of Sauron, its creator. In a fit of jealousy, Smeagol murdered his brother and stole the ring, before hiding away in the misty mountains, where he changed into a slimy, amphibious creature. The parallels here are obvious, Smeagol is Fafnir, The One Ring is the Andvaranaut. While it’s easy to say that Tolkien stole these ideas because they are merely interesting and dramatic, good things to have in a story, I say it’s more than this. The Fafnir story is a hamfisted but effective moral story about greed, greed corrupts and makes people do terrible things. What Tolkien has really done is take this moral lesson and applied it to his wider tale. Unlike Fafnir, who is swiftly slain at the hands of Sigurd, Gollum goes on to be a part of the whole story of middle earth and the battle between Light and Dark. By doing this Tolkien breathes new and more life into the original story, showing the complex facets to Gollum/Fafnir’s character.

Another motif that Tolkien uses is the triumphant return of the rightful king. In Beowulf, one of the few surviving ancient Norse/English epic poems, Beowulf travels to Heorot to defend the Danes from the terrible Grendel and later Grendel’s mother. He then returns triumphant to his home Geatland and becomes king. Aragorn from The Lord of the Rings has a similar story. Aragorn, among other things, travels to the west, far from his home in the east, to protect the hobbits on their quest to destroy the One Ring. He protects them successfully with all his might until they inevitably become separated. Aragorn then goes on to fight many great battles in service of the realm, foreign to his own people or otherwise. Finally he takes his place on the throne of Gondor having become a wise and loved man all over middle earth, not just a noble born to his claim. This story, this moral, has multiple messages in both the Beowulf and Aragorn versions. These ideas are something in the vein of self improvement, becoming a better person through experience and service. It also tells of the importance of friendship in gathering allies to defeat great enemies of the realm. Tolkien once again seems a thief, but he does add alot to the returning hero story. Where Beowulf makes valuable allies, Aragorn’s efforts are more hard won and concrete. This manifests itself as his adventures with the Rohirrim. Aragorn fights the greatest battle in Rohan’s history and stops their land being destroyed by Sauron. In turn, when Minas Tirith is under attack from in its darkest hour, the Rohirrim arrive and fight for Aragorn and his loyalty to them.
In Summary, Tolkien borrows heavily from Old Norse and Old English texts, not just for plot points to make an interesting tale, but to retell ancient moral stories. He brings these morals to modern audiences in a much more complicated and intertwined scope with the use of his stories in middle earth.
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