The Old Word
Völuspá
Summary:
Völuspá, also known as the Prophecy of the Seeress or the Wise Woman's Prophecy, is a poem from the Poetic Edda, a collection of Old Norse poems that were compiled in the 13th century. The poem is composed in the form of a prophecy given by a seeress, who narrates the creation of the world and its eventual destruction in a final battle, known as Ragnarok.
The poem is divided into 66 stanzas and begins with the creation of the world, starting with the gap between fire and ice, which eventually gives birth to Ymir, the first giant. The seeress then describes how the gods create the world out of Ymir's body, with Odin, Vili, and Ve, the three brothers, creating the first humans from an ash tree and an elm tree.
The seeress then goes on to prophesize about the future, describing a series of events that will lead to the destruction of the world, including the murder of Baldr, the god of light, and the subsequent punishment of Loki, the trickster god, who will be bound in a cave until Ragnarok.
As the poem progresses, the seeress describes the final battle of Ragnarok, in which the gods will fight against the giants and other monsters, and the world will be consumed by fire and flood. However, after the destruction of the world, a new world will emerge, and the seeress ends her prophecy by describing the rebirth of the world and the return of the surviving gods.
The Völuspá is an important source of Norse mythology and provides insight into the beliefs and worldview of the people of Scandinavia during the Viking Age. It has inspired numerous adaptations in literature, music, and art, and its influence can still be seen in modern popular culture.
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Number of Stanza
Stanza
Possible translation(s)
First translation Gabe Newell, second me.
What it means
What i believe it means
Key:
1
Hljóðs bið ek allar helgar kindir,
meiri ok minni mögu Heimdallar.
Viltu at ek, Valföðr, vel fyr telja
forn spjöll fira, þau er fremst um man
*I bid a hearing from all holy wights,
the greater and lesser of Heimdall’s children.
It is your wish, Valfather, that I speak
the old spells of the world, the earliest I can recall.
​
"Of all the holy kindreds, I ask that Heimdall's sons,
both greater and lesser, hear me;
you who would know more, Valfather, and would seek out wisdom,
ancient tales of men, those that are best renowned,
would you that I relate them?
This stanza expresses the speaker's desire to share ancient and renowned tales of men with Heimdall's sons, who are known for their keen senses and are guardians of the Bifröst bridge, which connects Asgard (the realm of the Gods) with Midgard (the realm of humans). The speaker addresses Odin, calling him "Valfather," which means "father of the slain," and asking him if he wishes to hear these stories, as he is known for seeking wisdom and knowledge.
The stanza also highlights the importance of oral tradition and storytelling in Norse culture. The Hávamál itself is a collection of wisdom sayings attributed to Odin, which were likely passed down through oral tradition before being written down. By asking Heimdall's sons and Odin if they want to hear ancient tales, the speaker is continuing the tradition of sharing stories and preserving cultural heritage through storytelling.
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2
Ek man jötna ár um borna,
þá er forðum mik fædda höfðu.
Níu man ek heima, níu íviðjur,
mjötvið mæran fyr mold neðan
*I recall the children of Ettins,
who, in the days of yore, brought me to life.
I recall the nine worlds, the nine steads,
of the Glorious Meting Wood, beneath the ground.
​
I remember giants born early in time,
who nurtured me long ago;
I remember nine worlds, nine giantesses,
and the mighty Measuring-Tree below
This stanza describes the speaker's memories of the Giants (Jötunn), who were born in the early days of creation. The speaker recalls being nurtured by them in the past, suggesting a close relationship or connection between the speaker and the Jötunns.
The stanza also mentions the concept of Nine Worlds, which are a key element of Norse cosmology. These worlds are interconnected and include Asgard (the realm of the gods), Midgard (the realm of humans), and Jotunheim (the realm of the Jötunns). The nine giantesses mentioned in the stanza may represent the nine worlds, or they may have a separate significance.
Finally, the stanza refers to the Measuring-Tree, which is a giant ash tree that is central to Norse mythology. The Measuring-Tree connects the nine worlds and is often associated with wisdom and knowledge. The use of the word "mjötvið" to describe the Measuring-Tree suggests that it is a mighty and majestic tree.
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3
Ár var alda, þat er ekki var,
vara sandr né sær né svalar unnir;
jörð fannsk æva né upphiminn,
gap var ginnunga en gras hvergi
*It was in the earliest times that Ymir dwelled.
Neither sand nor sea, nor cold waves, nor earth
were to be found. There was neither heaven above,
nor grass anywhere, there was nothing but Ginnungagap.
​
Before time was, there was no sand, nor sea,
no cooling waves nor earth; no sky above,
'twas gap and grass nowhere.
This stanza describes the state of the world before the beginning of time, when there was nothing but a vast emptiness, referred to as "gap" or "Ginnungagap." This emptiness is portrayed as a void where there was neither land nor sea, nor any kind of natural element. The stanza emphasizes the absence of all things that are familiar to humans, including the earth and the sky.
The use of the phrase "árvöllur alda" to begin the stanza suggests that the speaker is about to recount the story of creation, which follows the state of nothingness described in this stanza. The stanza sets the scene for the coming creation myth and emphasizes the idea that the world and all its elements were created from nothing by the gods.
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4
Áðr Burs synir bjöðum um ypptu,
þeir er Miðgarð mæran skópu;
sól skein sunnan á salar steina,
þá var grund gróin grænum lauki.
*Soon Bur’s sons heaved up the earth.
They shaped Midgard, the earth. The sun
shone from the south on the stones of the stead,
and green leeks grew from the ground.
​
Ere Bur's sons raised up the lands,
made they the Mid-world: the sun shone from the south
on the stones of earth; then was the ground
grown with green leeks.
​
This stanza describes the beginning of creation as told in Norse mythology. Bur's sons, Odin, Vili, and Ve, are said to have raised up the lands, creating Midgard out of the void that existed before creation. The stanza emphasizes the active role of the gods in shaping the world and creating the conditions necessary for life.
The stanza also mentions the Sun shining from the South, which suggests that the narrator is describing the creation of the world from a specific location, likely Scandinavia. The green leeks growing on the ground emphasize the idea of life and growth following creation, and the use of "laukur" specifically could be a reference to the importance of agriculture and farming in Norse society.
Overall, the stanza sets the stage for the creation myth and emphasizes the important role of the gods in shaping the world and creating the conditions necessary for life to thrive.
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5
Sól varp sunnan, sinni mána,
hendi inni hægri um himinjöður;
sól þat né vissi hvar hon sali átti,
máni þat né vissi hvat hann megins átti
stjörnur þat né vissu hvar þær staði áttu
*From the south the sun, companion of the moon,
threw her right hand across the edge of the world
The sun did not know what hall it had.
The stars did not know what stead they had.
The moon did not know what main it had.
​
The sun from the south, the moon's companion,
her right hand cast about the heavenly horses;
the sun knew not where she a hall should have,
the moon knew not what power he possessed,
the stars knew not where they had a station
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Sól ~ Sun
Máni ~ Moon
Árvakr ~ Sól's chariot horse
Alsviðr ~ Sól's chariot horse
Alsvidur ~ Máni's horse
​
This stanza describes the creation of the celestial bodies in Norse mythology. The Sun and the Moon are described as companions, with the sun casting her right hand around the horses that pull the celestial bodies through the sky. The stanza emphasizes the idea that even the celestial bodies were created without full knowledge of their place and purpose.
The lines "sól þat né vissi hvar hon sali átti, máni þat né vissi hvat hann megins átti" highlight the lack of knowledge that the sun and the moon had of their own purpose. The sun did not know where she should have a hall, meaning she did not know her place in the cosmos, while the moon did not know his own power. These lines could be interpreted as a commentary on the limitations of human knowledge and understanding.
The final line of the stanza, "stjörnur þat né vissu hvar þær staði áttu," reinforces the theme of uncertainty and lack of knowledge, suggesting that even the stars did not know their own place in the sky. Overall, the stanza emphasizes the idea that the creation of the world was not a simple or straightforward process, and that even the Gods did not have complete knowledge of the universe they had created.
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6
Þá gengu regin öll á rökstóla,
ginnheilög goð, ok um þat gættusk;
nótt ok niðjum nöfn um gáfu,
morgin hétu ok miðjan dag,
undorn ok aftan, árum at telja.
*All the Regin went to the doom chair,
the Ginn Holy Gods mooted over this.
They gave names to night and the new moons,
they named midday, mid afternoon,
and early evening, to reckon the years.
​
Then went all the powers to their judgement-seats,
the holy gods, and thereon held council,
to night and to night's son names gave they,
morn they named, and mid-day,
forenoon and afternoon, and evening,
reckoning of years.
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Dagur ~ Day
Nótt ~ Night
Auðr ~ Night's Son
Aurvandill ~ Morning
Mid-Day
Forenoon
Afternoon
Höðr? ~ Evening
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This stanza describes the council of the gods, who gather on their judgment-seats to discuss important matters. The stanza emphasizes the importance of the gods and their wisdom and insight, as they are described as "holy" and "mighty".
The stanza also mentions the gods giving names to various parts of the day and night, such as night, night's son, morning, mid-day, forenoon, afternoon, and evening. This emphasizes the idea that the gods have power over the natural world and have the ability to name and define the different parts of the day.
Finally, the stanza mentions the "reckoning of years," which suggests that the gods are concerned with time and the passage of time. This emphasis on time and the cyclical nature of time is a common theme in Norse mythology.
Overall, the stanza sets the stage for the unfolding of events in the Völuspá and emphasizes the importance of the gods in shaping the world and determining the course of events.
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7
Hittusk æsir á Iðavelli,
þeir er hörg ok hof hátimbruðu;
afla lögðu, auð smíðuðu,
tangir skópu ok tól gerðu.
*The Aesir met on Ida Vale.
High they timbered hof and harrow,
they founded forges and smithied,
they shaped tongs and wrought tools.
​
The Aesir met on Ida-plain,
Of the mighty altar and the temple high;
They wrought a forge, they smithied ore,
Tongs they fashioned and tools they made.
​
Aesir ~ Gods/Goddesses
Ida ~ Sacred meeting place
​
This stanza describes the Aesir, the gods of Norse mythology, gathering on the sacred plain of Ida to construct a grand altar and temple. They work together, using their divine strength and abilities, to forge and shape tools and instruments that they will use to shape and maintain the world.
The stanza emphasizes the idea that the Aesir are skilled craftsmen, capable of creating great works of art and tools of immense power. It also highlights the importance of Ida-plain as a sacred location for the Aesir, where they can come together and work towards a common goal.
Overall, the stanza establishes the Aesir as powerful and creative beings, capable of shaping and maintaining the world around them. It sets the stage for the creation of the world and the events that will unfold in the Völuspá.
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8
Tefldu í túni, teitir váru,
var þeim vettergis vant ór gulli,
uns þrjár kvámu þursa meyjar
ámáttkar mjök ór Jötunheimum.
*They played tables in the garth and were blissful.
None of them lacked gold, until three maidens
came from the Thurses. Their might was awesome,
they came from Ettinhome.
​
They played at tables in the courtyard, were cheerful; To them was lacking naught of wealth in the world, Until three giant maids came thither from Jötunheim, Strong in might, out of the land of giants.
This stanza describes a scene in which people are playing board games in a courtyard and enjoying themselves. They have plenty of wealth and seem content until three giant maidens arrive from the land of giants. These maidens are described as powerful and mighty.
The stanza uses the image of playing board games to suggest a peaceful and prosperous time before the arrival of the giant maids. It is also a metaphor for the power struggle between the gods and giants, with the board game representing the conflict for control of the world. The stanza implies that the arrival of the giant maids will disrupt the peace and prosperity of the people and foreshadows a coming conflict between the gods and giants.
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9
Þá gengu regin öll á rökstóla,
ginnheilög goð, ok um þat gættusk,
hver skyldi dverga dróttir skepja
ór Brimis blóði ok ór Bláins leggjum.
*Then all the Regin went to the doom chair.
They held moot to say who should shape
the Drighten of the dwarves
from Brim’s blood, from Blain’s bones.
​
Then all the gods went to their judgment-seats, the sacrosanct deities, and considered this; who should create the race of dwarfs from Brimir's blood and from Blain's limbs?
​
Ginnheilög ~ a plain where the Gods/Goddesses meet.
Brimir ~ Dwarf
Blain ~ Dwarf
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This stanza describes a scene in which the gods are gathered together on their judgment-seats, preparing for a great council or assembly. The gods are identified as "Ginnheilög," meaning sacrosanct or holy, emphasizing their importance and power.
During the council, the gods discuss the creation of the race of dwarfs. The dwarfs are a significant part of Norse mythology and are known for their skills in crafting weapons and other objects of power. The stanza mentions the creation of the Dwarfs from the blood of Brimir, a giant in Norse mythology, and the limbs of Blain, another giant.
The stanza is important as it sets the stage for the creation of the dwarfs, who play an important role in Norse mythology. It also highlights the power and importance of the gods, who have the ability to create and control other beings.
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10
Þar var Móðsognir mæztr um orðinn
dverga allra, en Durinn annarr;
þeir mannlíkun mörg um gerðu
dvergar í jörðu, sem Durinn sagði.
*There was Motsognir, the greatest in speech
of all the dwarves. But Durinn was second.
These dwarves made many man-like-bodies
out of the earth as Durinn had asked.
​
There was Móðsognir, who had become the greatest of all the dwarves, and Durinn was second. They created many human-like creatures, the dwarves in the earth, as Durinn recounted.
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Móðsognir ~ Ruler of the Dwarfs
Durinn ~ second dwarf created.
​
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This particular stanza describes the creation of the dwarves, who were believed to be skilled craftsmen in Norse mythology.
The stanza mentions two dwarves, Móðsognir and Durinn, who were responsible for creating many dwarves in the earth. Móðsognir is described as the greatest of all the dwarves, while Durinn is the second greatest. The stanza also mentions that these dwarves created many "mannlíkun," or human-like creatures, which are the dwarves themselves.
This stanza is significant in Norse mythology because the dwarves were believed to be the makers of many of the magical objects used by the gods and heroes. They were also associated with mining and metallurgy, and were considered to be masters of these crafts.
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11
Nýi, Niði, Norðri, Suðri,
Austri, Vestri, Alþjófr, Dvalinn,
Nár ok Náinn Nípingr, Dáinn
Bívurr, Bávurr, Bömburr, Nóri,
Ánn ok Ánarr, Óinn, Mjöðvitnir.
*Nyr and Nithi, North and South,
East and West, Allthief, Entranced,
Nar and Nain, Nithing, Dain
Bifor, Bofor, Bombur, Nari,
An, and Anarr, Oinn and Meadvolf.
​
Nýi, Niði, Norðri, Suðri, Austri, Vestri, Alþjófr, Dvalinn, Nár, and Náinn, Nípingr, Dáinn, Bívurr, Bávurr, Bömburr, Nóri, Ánn, Ánarr, Óinn, and Mjöðvitnir are all names of dwarfs in Norse mythology.
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Alþjófr ~ Dwarf.
Ánarr ~ Dwarf.
Ánn ~ Dwarf.
Austri ~ Dwarf.
Bávurr ~ Dwarf.
Bívurr ~ Dwarf.
Blain ~ Dwarf.
Bömburr ~ Dwarf.
Brimir ~ Dwarf.
Dáinn ~ Dwarf.
Dvalinn ~ Dwarf.
​
Mjöðvitnir ~ Dwarf.
Náinn ~ Dwarf.
Nár ~ Dwarf.
Niði ~ Dwarf.
Nípingr ~ Dwarf.
Norðri ~ Dwarf.
Nóri ~ Dwarf.
Nýi ~ Dwarf.
Óinn ~ Dwarf.
Suðri ~ Dwarf.
Vestri ~ Dwarf.
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The stanza lists the names of these dwarfs, who were believed to live underground and were known for their exceptional crafting skills. Dwarfs were often depicted as master craftsmen who created the most powerful and magical objects for the gods, including Thor's hammer, Mjölnir.
The stanza is an example of the importance of lists and catalogues in Norse mythology and literature, where it was common to list names of people, objects, and places as a way to honor and remember them. The names of these dwarfs were likely well-known and revered by the people of the time, and their inclusion in the poem serves as a way to pay homage to their legendary skills and accomplishments.
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12
Veggr ok Gandálfr, Vindálfr, Þorinn,
Þrár ok Þráinn, Þekkr, Litr ok Vitr,
Nýr ok Nýráðr, nú hefi ek dverga,
Reginn ok Ráðsviðr, rétt um talda.
*Veig and Gand-Elf, Windelf, Thorinn,
Thror and Thrainn, Thekk, Lit and Vit,
Nar and Nyrath, Reginn and Rathsvith.
Now are the dwarves rightly listed.
​
Wall and Wand-elf, Wind-elf, Thorin, Thrar and Thrain, Thekkr, Litr and Vitr, Nyr and Nyradr, now I have listed dwarves, Regin and Radsvithr, rightly counted.
Gand-Elf ~ Dwarf.
Lit ~ Dwarf.
Nar ~ Dwarf.
Nyrath ~ Dwarf.
Rathsvith ~ Dwarf.
Reginn ~ Dwarf.
Thekk ~ Dwarf.
Thorinn ~ Dwarf.
Thrainn ~ Dwarf.
Thror ~ Dwarf.
Veig ~ Dwarf.
Vit ~ Dwarf.
Windelf ~ Dwarf.
This stanza lists a number of dwarf names, each of which has its own unique meaning. The names are presented in pairs and all begin with the same letter. The dwarves listed are Wall and Wand-elf, Wind-elf, Thorin, Thrar and Thrain, Thekkr, Litr and Vitr, Nyr and Nyradr, Regin and Radsvithr.
Dwarves were also believed to be associated with the earth and underground places. This stanza highlights the importance of these dwarves in Norse mythology and their role in the creation of magical objects.
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13
Fíli, Kíli, Fundinn, Náli,
Hefti, Víli, Hannar, Svíurr,
Billingr, Brúni, Bíldr ok Buri,
Frár, Hornbori, Frægr ok Lóni,
Aurvangr, Jari, Eikinskjaldi.
*Fili, Kili, Fundinn, Nali,
Hepti, Vili, Hanarr, Sviurr,
Billing, Bruni, Bild and Buri
Frar, Hornbori, Fraeg and Loni,
Aurvang, Jari, and Oakenshield.
​
Fíli, Kíli, Fundinn, Náli, Hefti, Víli, Hannar, Svíurr, Billingr, Brúni, Bíldr ok Buri, Frár, Hornbori, Frægr ok Lóni, Aurvangr, Jari, Eikinskjaldi.
Aurvangr ~ Dwarf.
Bíldr ~ Dwarf.
Billingr ~ Dwarf.
Brúni ~ Dwarf.
Buri ~ Dwarf.
Eikinskjaldi ~ Dwarf.
Fíli ~ Dwarf.
Frægr ~ Dwarf.
Frár ~ Dwarf.
Fundinn ~ Dwarf.
Hannar ~ Dwarf.
Hefti ~ Dwarf.
Hornbori ~ Dwarf.
Jari ~ Dwarf.
Kíli ~ Dwarf.
Lóni ~ Dwarf.
Náli ~ Dwarf.
Svíurr ~ Dwarf.
Víli ~ Dwarf.
These are the names of the thirteen dwarves who helped Thor and Loki retrieve Thor's hammer Mjölnir from the giant Þrymr. The names are listed in the Völuspá, one of the poems in the Poetic Edda. The meaning of the names is not clear, although some of them appear to be related to elements in nature, such as Billingr, which may mean "tree trunk," and Eikinskjaldi, which may mean "oak shield." Others may be derived from personal names, such as Kíli and Náli.
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14
Mál er dvergaí Dvalins liði
ljóna kindum til Lofars telja,
þeir er sóttu frá salar steini
Aurvanga sjöt til Jöruvalla.
*I speak of the dwarves in Dvalinn’s host
to tell of their kind down to Lofar,
of those who sought the abode of Aurvang
at Jorovallar from the stone of the hall.
​
The speech of the dwarves is in Dvalin's host, to count the lion's offspring among Lofar's kin, those who journeyed from the hall's stones of the golden plain to Jöruvalla.
This stanza describes the dwarves who are in the service of Dvalin, counting the offspring of lions among the kin of Lofar. The dwarves are said to have journeyed from the golden plain of Aurvangar to Jöruvalla. The meaning of this stanza is not entirely clear, but it may be a reference to the complex genealogy of the gods and mythical creatures in Norse mythology.
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15
Þar var Draupnir ok Dolgþrasir,
Hár, Haugspori, Hlévangr, Glói,
Dóri, Óri Dúfr, Andvari
Skirvir, Virfir, Skáfiðr, Ái.
*Draupnir was there, and also Dolgthrasir,
Har, Haugsthori, Hievang, Gloi,
Dori, Ori, Duf, Andvari
Scirvir, Virvir, Skafith, and Ai.
​
There were Draupnir and Dolgthrasir, Hár, Haugspori, Hlévangr, Glói, Dóri, Óri, Dúfr, Andvari, Skirvir, Virfir, Skafidr, Ái.
This stanza is describing some of the names of the dwarves in Dvalin's army. Each of these names represents a unique dwarf. Some of these names also appear in other Norse mythology texts, such as Draupnir, which is the name of a magical golden ring, and Andvari, who is a dwarf that possesses a magical ring and a hoard of gold.
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Draupnir ~ Dwarf.
Ái ~ Dwarf.
Dolgthrasir ~ Dwarf.
Dóri ~ Dwarf.
Draupnir ~ Dwarf.
Dúfr ~ Dwarf.
Glói ~ Dwarf.
Hár ~ Dwarf.
Haugspori ~ Dwarf.
Hlévangr ~ Dwarf.
Óri ~ Dwarf.
Skafidr ~ Dwarf.
Skirvir ~ Dwarf.
Virfir ~ Dwarf.
Álfr ~ An Elf.
Yngvi ~ An Elf.
Eikinskjaldi ~ A Dwarf.
Fjalarr ~ A Dwarf.
Frosti ~ A Dwarf.
Finnr ~ A Dwarf.
Ginnarr ~ A Dwarf.
16
Álfr ok Yngvi, Eikinskjaldi,
Fjalarr ok Frosti, Finnr ok Ginnarr;
þat mun æ uppi meðan öld lifir,
langniðja tal Lofars hafat
*Alf and Yngvi and Eikenskjaldi,
Fjalarr and Frosti, Finn and Ginhar.
The long line of down to Lofar
will be known while men live.
​
Álfr and Yngvi, Eikinskjaldi, Fjalarr and Frosti, Finnr and Ginnarr; that will remain up as long as life endures, the very long tale of Lofar's descendants.
​
This stanza lists several more names of dwarves, including Álfr, Yngvi, Eikinskjaldi, Fjalarr, Frosti, Finnr, and Ginnarr. The stanza ends with the statement that the long tale of Lofar's descendants will be told for as long as people live.
17
Unz þrír kvámu ór því liði
öflgir ok ástkir æsir at húsi,
fundu á landi lítt megandi
Ask ok Emblu örlöglausa.
*From the host came three,
mighty and powerful Aesir, to coast.
There they found an ash and an elm
of little might, and lacking orlog.
​
Until three came from that group, mighty and loving gods, to the house [built by the gods]. They found on the land two helpless beings, Ask and Embla, lacking in fate.
​
Ask ~ First Female Embla ~ First Male
​
The stanza describes the creation of the first humans in Norse mythology. The gods Odin, Vili, and Ve found two trees on the land and created the first man (Ask) and woman (Embla) from them. The stanza states that the gods were mighty and loving, and that they found the humans to be helpless and lacking in fate, suggesting that their fate was not predetermined and that they had the ability to shape their own destiny.
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18
Önd þau né áttu, óð þau né höfðu,
lá né læti né litu góða;
önd gaf Óðinn, óð gaf Hænir,
lá gaf Lóðurr ok litu góða.
*They had neither breath nor wit nor life hue
nor manner nor good looks. Odin gave them
the breath of life, Hoenir gave them wod,
Lothur gave them life and good looks.
​
They had no breath, nor any spirit,
no warmth nor motion, nor goodly hue;
Breath gave Odin, spirit gave Hoenir,
Warmth gave Lodur, and a goodly hue.
​
Hoenir ~ Æsir. Lodur ~ Æsir
​
The verse describes the creation of the first human beings (Ask and Embla), who were created from two trees by the gods. However, when they were created, they had no life or movement. Odin, Hoenir, and Lodur then gave them the gifts of breath, spirit, warmth, and a good appearance, which brought them to life and made them human. This verse reflects the Old Norse belief that the gods played an active role in the creation of the world and all living beings.
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19
Ask veit ek standa, heitir Yggdrasill,
hár batmr, ausinn hvíta auri;
þaðan koma döggvar þærs í dala falla,
stendur æ yfir grænn Urðarbrunni.
*I know an ash that stands, called Yggdrasil,
a tall tree, wet with white dews,
dews dripping down into the dales.
Ever green it stands over Urth’s well.
​
I know of a tree standing called Yggdrasil, a high tree sprinkled with white gold. From there come the dews that fall in the dales. It stands evergreen over Urðr's well.
Yggdrasil is a sacred tree in Norse mythology, and its name means "Odin's horse" or "Yggr's horse". It is said to connect the nine worlds of Norse cosmology and is the center of the universe. Urðr's well, also known as the Well of Fate, is one of the three wells at the base of Yggdrasil, and is where the three Norns live and determine the fate of all beings. The dew that falls from the branches of Yggdrasil is believed to have healing properties.
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20
Þaðan koma meyjar margs vitandi
þrjár ór þeim sæ, er und þolli stendr;
Urð hétu eina, aðra Verðandi,
- skáru á skíði,- CcSkuld ina þriðju.
Þær lög lögðu, þær líf kuru
alda börnum, örlög seggja.
*From there come three maidens, deep in lore,
from the water that stands under the tree.
One is called Urth, the other Verthandi,
the third Skuld. Scores they carved,
laws they laid, lives they chose.
They worked Orlog for the sons of men.
​
From there come maidens knowing much, three from the lake which stands beneath the tree; one is called Fate, the second Being, and the third Necessity—sharp-cutting they ride.
These laid down laws, these chose lives for the sons of men, the fates revealed.
​
Urðr ~ Fate. The Past.
Verðandi ~ Being. The Present.
Skuld ~ Necessity. The Future.
This passage describes the three Norns, or female supernatural beings, who are responsible for weaving the fabric of fate and determining the destiny of all creatures in Norse mythology. The Norns are Urðr, Verðandi, and Skuld, and they live by the well of fate, Urðarbrunnr, at the base of the world tree, Yggdrasil.
The passage suggests that the Norns are knowledgeable and wise, and their names reflect their roles in shaping destiny: Urðr (Fate) represents the past, Verðandi (Being) represents the present, and Skuld (Necessity) represents the future. The Norns are also depicted as riding sharp-cutting skis, which may represent their ability to cut threads of fate and end lives.
The passage also emphasizes the importance of the Norns' role in shaping the lives of all creatures, as they "laid down laws" and "chose lives for the sons of men." This reflects the idea that the Norns are responsible for weaving the threads of fate that determine the destiny of all creatures, and that their power is absolute and unchallenged.
​
21
Þat man hon fólkví gfyrst í heimi,
er Gullveigu geirum studdu
ok í höll Hárs hana brenndu,
þrisvar brenndu, þrisvar borna,
oft, ósjaldan; þó hon enn lifir.
*I recall the first battle in the world.
There they stabbed Gullveig with spears,
and burned her in Har’s hall.
Thrice she was burned, thrice she was born.
It happened often, and yet she lives.
​
The first time in the world that people remember a war was when Gullveig, supported by spears, was burned in the hall of Hár. They burned her three times, born three times, often and not seldom, yet she still lives.
​
This stanza refers to a mythical figure in Norse mythology named Gullveig, who was associated with gold and wealth. The exact nature of her character is unclear, but in this stanza, she is portrayed as a controversial figure who incites conflict. The gods burned her in a hall, but she was reborn each time. The stanza implies that her continued existence is the cause of ongoing warfare.
22
Heiði hana hétu hvars til húsa kom,
völu velspáa, vitti hon ganda;
seið hon, hvars hon kunni, seið hon hug leikinn,
æ var hon angan illrar brúðar.
*She is called Heith, who comes to houses, the far seeing spae woman. The wise volva knew gand magic, she understood seith. She played with minds by her seith. She was always dear to evil women.
​
She was called Heiðr, whoever came to her house, a skilled seeress, she knew about spirits. She practiced seiðr wherever she could, she played with people's minds, she was the joy of an evil bride.
​
Heiðr was a seeress who was known for her ability to practice Seiðr, a form of magick that involved communicating with spirits and using spells to influence people's thoughts and actions. She was highly skilled in this art, and people would seek her out for advice and guidance. However, despite her abilities, she was considered to be somewhat dangerous, as she could use her magic to manipulate people and cause harm if she chose to do so.
23
Þá gengu regin öll á rökstóla,
ginnheilög goð, ok um þat gættusk
hvárt skyldu æsir afráð gjalda
eða skyldu goðin öll gildi eiga.
*Then all the Regin went to the doom chair.
The Ginn Holy Gods held moot
as to whether the Aesir should pay tribute
or whether all the gods should have a wassail.
​
Then all the powers went to the judgment-seats, the sacred gods, and considered this: whether the Æsir should pay a price or whether all the gods should have tribute.
In this passage, the "powers" or "gods" are gathering to discuss a matter of great importance. They are considering whether the Æsir, a group of Norse gods who are often associated with war and kingship, should be punished or whether all of the gods should pay tribute. The reason for this gathering and discussion is not clear from this brief passage, but it suggests that there is some conflict or issue that needs to be resolved. The use of the word "rökstóla" suggests that this is a serious matter, as the term refers to the seats or thrones where judgments are made in Norse mythology.
​
24
Fleygði Óðinn ok í folk um skaut,
þat var enn folkvíg fyrst í heimi;
brotinn var borðveggr borgar ása,
knáttu vanir vígspá völlu sporna.
*Odin sped a shot into the host.
That was the first battle in the world.
The board wall was broken, the fortification
of the Ases. The fighting Vanes trod the battlefield.
​
Odin hurled his spear into the host, that was the first war in the world; the wall that girdled the gods was broken, and the field of battle was swept by Vanir's prophetic magic.
​
Odin, the chief of the Norse gods, is launching an attack on an unspecified group. The phrase "fleygði Óðinn ok í folk um skaut" means "Odin hurled his spear into the host," suggesting that he is leading the attack. The phrase "þat var enn folkvíg fyrst í heimi" means "that was the first war in the world," indicating that this event is significant in Norse mythology.
​
25
Þá gengu regin öll á rökstóla,
ginnheilög goð, ok um þat gættusk
hverjir hefði loft allt lævi blandit
eða ætt jötuns Óðs mey gefna.
*Then all the Regin went to the doom chair.
The Ginn Holy Gods held moot
over he who blended the sky with poison
and gave Oth’s woman to the tribe of Ettins.
​
This passage is a repetition of the previous one, with the only difference being the last line. In this version, the gods are discussing who had given birth to the maiden of Odin (Óðr), or in other words, who was the mother of this being.
26
Þórr einn þar vá þrunginn móði,
- hann sjaldan sitr - er hann slíkt um frekn.
Á gengusk eiðar, orð ok særi,
mál öll meginlig er á meðal fóru.
*Thor was then swollen with rage against the foe.
He seldom sits when he hears of such.
Oaths were broken, then word and oath,
powerful pacts made between them.
​
Thor alone was there, with fury he thrusted - he rarely sits - when such things are at hand. Oaths and promises were exchanged, all manner of solemn words were spoken.
This passage describes Thor, the god of thunder and one of the most prominent figures in Norse mythology. He is portrayed as being in a state of intense anger or passion. Thor is not one to remain idle when there is a conflict to be resolved. It's suggested that there is some kind of negotiation or agreement being reached and a serious and weighty conversation is at hand. Overall, this passage paints a picture of Thor as a powerful and passionate figure who is not afraid to take action when necessary. The scene being described is one of negotiation or conflict resolution, with Thor playing a prominent role in the proceedings. The language used is again highly stylized and poetic, with many allusions to Norse mythology and culture.
​
27
Veit hon Heimdallar hljóð um folgit
und heiðvönum helgum baðmi;
á sér hon ausask aurgum fossi
af veði Valföðrs. Vituð ér enn - eða hvat?
*She knows where Heimdall’s hearing is hidden-
under the holy sky scraping tree. Over it flow
the watery falls from Valfather’s pledge.
Do you want to know more, or what?
​
She (the seeress) knows of Heimdall's hearing hidden things under the bright holy tree; she sees a river cascade with gold, from the pledge of the Father of the Slain (Odin). Do you still not know - or what?
This passage describes the knowledge possessed by the seeress, who has the ability to see and hear things that are hidden from ordinary mortals. In this case, she is said to know of Heimdall's hearing, which refers to the god Heimdall's ability to hear even the faintest sounds. This is described as happening "under the bright holy tree," which could be a reference to the world tree Yggdrasil, which is central to Norse mythology.
The next line, "á sér hon ausask aurgum fossi af veði Valföðrs," means "she sees a river cascade with gold, from the pledge of the Father of the Slain (Odin)." This suggests that Odin has made some kind of promise or pledge that involves a river of gold, and that the seeress is able to perceive this through her prophetic powers.
The final line, "Vituð ér enn - eða hvat?" means "Do you still not know - or what?" This line is a common refrain in the poem, and is used to emphasize the importance of the knowledge being conveyed.
Overall, this passage suggests that the seeress has access to hidden knowledge that is beyond the comprehension of ordinary mortals. The language used is again highly stylized and poetic, with many allusions to Norse mythology and culture.
​
28
Ein sat hon úti þá er inn aldni kom
yggjungr ása ok í augu leit:
Hvers fregnið mik? Hví freistið mín?
Allt veit ek, Óðinn, hvar þú auga falt,
í inum mæra Mímisbrunni.
Drekkr mjöð Mímir morgun hverjan
af veði Valföðrs. Vituð ér enn - eða hvat.
She sat out, all alone, there, where the old one came, the awesome Ase looked in her eye.
“What do you ask of me? Why test me?
I know well, Odin, where your eye is hidden—
in the water of Mimir’s well. Mimir drinks mead
each morning from Valfather’s pledge.
Do you want to know more, or what?
​
She sat alone outside when the old one arrived, the son of Ygg, and looked into her eyes: 'What do you ask me? Why do you test me? I know everything, Odin, where you hid your eye, in the famous well of Mimir. Mimir drinks mead every morning from the pledge of Valfather. Do you understand yet - or what?
In this part of the poem, a seeress or völva is recounting her vision of the creation of the world and the events that will lead up to Ragnarok, the end of the world in Norse mythology.
The first line, "Ein sat hon úti, þá er inn aldni kom," can be translated to "She sat alone outside when the old one arrived." The "old one" is a reference to Odin, who is often described as an old man with a long beard and one eye.
The seeress then addresses Odin, asking why he is testing her. She claims to know everything, including the whereabouts of Odin's missing eye, which he famously gave up in exchange for wisdom. She says that Mimir, a wise being who guards the well of wisdom, drinks mead from a pledge given by Odin every morning.
​
​
29
Valði henni Herföðr hringa ok men,
fekk spjöll spaklig ok spá ganda,
sá hon vítt ok um vítt of veröld hverja.
Herrfather dealt her rings and a necklace
to have her spells of spae and spae magic.
She sees widely over each of the worlds.
​
Herföðr chose for her rings and necklaces, She received wise sayings and prophecy chants, She saw far and wide over every world.
In this passage, the seeress is speaking about herself in the third person. She says that Herföðr, which is another name for Odin, chose for her rings and necklaces, which could be interpreted as a symbolic representation of wisdom and knowledge.
The seeress then says that she received wise sayings and prophecy chants from Herföðr, which could be a reference to Odin's role as the god of wisdom and knowledge, as well as the god of the dead and the afterlife.
Finally, the seeress says that she saw far and wide over every world, indicating her supernatural abilities as a seeress. This line emphasizes the extent of her vision and knowledge, which she gained through her relationship with Odin.
​
30
Sá hon valkyrjur vítt um komnar,
görvar at ríða til Goðþjóðar;
Skuld helt skildi, en Skögul önnur,
Gunnr, Hildr, Göndul ok Geirskögul.
Nú eru talðar nönnur Herjans,
görvar at ríða grund valkyrjur.
She sees Valkyries coming from afar,
ready to ride to the Gothic host.
Skuld held a shield, and Skogul another.
There were also Gunnr, Hild, Gondol and
Geirskogul. Now Herjan’s maidens are listed,
Valkyries ready to ride over the earth.
​
Herföðr chose for her rings and necklaces, She received wise sayings and prophecy chants, She saw far and wide over every world.
​
Skuld ~ Valkyrie.
Skögul ~ Valkyrie.
Gunnr ~ Valkyrie.
Hildr ~ Valkyrie.
Göndul ~ Valkyrie.
Geirskögul ~ Valkyrie.
​
This stanza is describing the arrival of the Valkyries, the mythological female figures of Norse folklore who were believed to choose which warriors would die in battle and be taken to the afterlife of Valhalla. The stanza describes how the Valkyries came from afar to ride towards the realm of the gods, "Goðþjóðar," which is likely a reference to Asgard, the home of the gods in Norse mythology.
The names of some of the Valkyries are also mentioned, including Skuld, who held a shield, and Skögul, who was known for her wisdom. Other Valkyries mentioned include Gunnr, Hildr, Göndul, and Geirskögul. The stanza concludes by saying that all of the Valkyries are counted as the "nönnur Herjans," or the handmaidens of Odin, the chief of the gods.
31
Ek sá Baldri, blóðgum tívur,
Óðins barni, örlög fólgin;
stóð um vaxinn völlum hæri
mjór ok mjög fagr mistilteinn.
I saw Baldr, the bloodied God,
son of Odin, his orlog hidden.
It stood and grew, high among the trees,
slender and fair, the mistletoe teinn.
​
I saw Baldr, the bloodstained god, Odin's child, fate concealed; A slender and very beautiful mistletoe Grew higher than the fields.
The seeress describes a vision of Baldr, a god in Norse mythology who was known for his beauty, wisdom, and kindness. Baldr was the son of Odin and the goddess Frigg.
The seeress says that she saw Baldr, but he was bloodstained and his fate was concealed. This could be a reference to his death, which was caused by mistletoe according to Norse mythology.
The seeress then describes the mistletoe that caused Baldr's death, saying that it was slender and very beautiful, and grew higher than the fields. This could be interpreted as a symbol of the danger that can come from something seemingly harmless and beautiful.
Overall, this passage serves to foreshadow Baldr's death and the role that mistletoe will play in it. It also emphasizes the tragic nature of Baldr's fate, as he was known as a beloved and admired god in Norse mythology.
​
32
Varð af þeim meiði, er mær sýndisk,
harmflaug hættlig, Höðr nam skjóta.
Baldrs bróðir var of borinn snemma,
sá nam Óðins sonr einnættr vega.
What seemed glorious when on the boughs
turned to a deadly dart when Hoth made his cast.
Baldr’s brother was soon born.
When only one year old, Odin’s son got vengeance.
​
A harmful missile was made from the tree that appeared to be harmless to the maiden; Höðr shot it, the brother of Baldr, who was born early and raised by Odin alone.
The seeress describes the event that led to the death of Baldr, the god of beauty and goodness.
The seeress says that a missile, or a projectile weapon, was made from a tree that appeared to be harmless to the maiden. This is a reference to mistletoe, which was the weapon that ultimately caused Baldr's death.
The seeress then says that Höðr, the brother of Baldr, shot the missile. Höðr was a blind god in Norse mythology, and he was tricked by Loki, the god of mischief, into shooting the mistletoe at Baldr.
Finally, the seeress mentions that Höðr was born early and raised by Odin alone. This detail emphasizes the tragic nature of the event, as it was ultimately caused by Loki's trickery and led to the death of a beloved god.
Overall, this passage serves to provide more details about the event that led to Baldr's death, and emphasizes the role of mistletoe and Loki in the story.
​
33
Þó hann æva hendr né höfuð kembði,
áðr á bál um bar Baldrs andskota;
en Frigg um grét í Fensölum
vá Valhallar. Vituð ér enn - eða hvat?
He never washed his hands nor combed his hair,
until he had born Baldr’s foe to the pyre.
Frigg wept in Fensalir for Valhalla’s woe.
Would you know more, or what?
​
Though he never combed his hair or washed his hands, before he carried Baldr's killer to the pyre; but Frigg wept in Fensalir, for the fate of Valhalla. Do you still know, or what?
This passage is also about the death of Baldr and his mother Frigg's grief over his death.
The first two lines describe how Höðr, Baldr's blind brother and unwitting killer, did not prepare himself before carrying out the act. He did not comb his hair or wash his hands, suggesting that he was not fully aware of what he was doing.
The third line mentions Frigg, Baldr's mother, who wept for her son in Fensalir, her hall in Asgard. Fensalir is often described as a place of sorrow and mourning.
The final line is a rhetorical question posed by the seeress to the audience. It asks if they still remember this story, implying that it is an important tale with lasting significance.
Overall, this passage adds further detail to the story of Baldr's death and emphasizes the depth of Frigg's grief over her son. It also suggests that the story has enduring importance and should be remembered.
​
34
Þá kná Váli vígbönd snúa,
heldur váru harðger höft ór þörmum.
Then Vali wound war fetters.
They were real strong bonds made of guts
​
Then Váli began to twist the bonds of war, and the tough bowels of his enemy held.
This passage describes the aftermath of Baldr's death and the revenge taken by his brother Váli. After Baldr was killed, his mother Frigg asked the gods to avenge his death. Odin then fathered Váli with the giantess Rindr, and he grew to adulthood in just one day. Váli then killed Höðr, Baldr's blind brother and unintentional killer, to avenge Baldr's death.
The verse describes Váli beginning to twist the "vígbönd," which can be translated as "bonds of war" or "bonds of battle." This suggests that Váli is preparing for battle and is about to engage in combat. The second line describes the toughness of Váli's enemy - their "höft," or bowels, were hard and resistant. This can be interpreted as a metaphor for the enemy's toughness and resilience in battle.
Overall, this passage adds to the narrative of Baldr's death and the subsequent revenge taken by Váli. It portrays Váli as a fierce warrior, ready to take on his enemies in battle.
​
35
Haft sá hon liggja undir Hveralundi,
lægjarns líki Loka áþekkjan.
Þar sitr Sigyn þeygi um sínum
ver vel glýjuð. Vituð ér enn - eða hvat?
She saw one lying in bonds, in the grove of kettles.
It was the hated form of guileful Loki.
Sigyn sits there, sad by her husband.
Do you want to know more, or what?
​
She saw lying there beneath Hveralundr, the lifeless body of Loki, her husband. There sits Sigyn, her sorrows keeping silent, faithfully beside her husband.
This passage describes the aftermath of Loki's death. Loki was responsible for the death of Baldr and was eventually punished by the gods. Loki was bound with the entrails of his son, and a serpent was placed above him to drip venom onto his face. Loki's wife, Sigyn, stayed by his side to catch the venom in a bowl, but when she had to empty it, the venom would hit Loki's face and cause him great pain.
The verse describes Sigyn finding Loki's lifeless body lying under a tree called Hveralundr. It's not entirely clear how Loki died, but it's likely that he was killed by the gods or by some other force. Sigyn is described as sitting silently beside Loki, keeping her sorrows to herself. The last line describes Sigyn as being "well-glowing," which could mean that she is radiant with grief, or it could be interpreted as a reference to her loyalty to her husband.
Overall, this passage adds to the complex and often tragic mythology surrounding Loki and his relationships with the other gods. It portrays Sigyn as a faithful and loyal wife, who is willing to suffer alongside her husband even in death.
​
36
Á fellur austan um eitrdala
söxum ok sverðum, Slíðr heitir sú.
A stream of saxes and swords flows from the east
through Poison-Dales. It is called Slith.
​
A river falls from the east into the poison-dale, with swords and with axes, Slidr is its name.
This passage describes a river called Slidr that falls from the east and runs through a valley filled with poison. The river is said to be filled with swords and axes, which suggests that it may have been used as a dumping ground for weapons. The name "Slidr" may be related to the Old Norse word "slíðr," which means "slippery" or "sliding," and could refer to the way the river flows through the valley.
This verse is part of a larger section of "Grímnismál" that describes the various rivers, mountains, and other features of the Norse mythological landscape. The poem provides a vivid picture of the world as it was imagined by the ancient Norse people, with its many dangerous and mysterious places. The mention of weapons in this verse also highlights the importance of warfare and the martial culture of the Norse people.
​
37
Stóð fyr norðan á Niðavöllum
salr ór gulli Sindra ættar;
en annarr stóð á Ókólni
bjórsalr jötuns, en sá Brimir heitir.
A golden hall stood in the Northon the vales of Nitha, it was the dwellingof the tribe of Sindra. Another stood on Okaini,it was the beer hall of the Ettin Brim.
​
To the north, on the plains of Niðavöllr, stood a hall made of gold, of the family of Sindri; and another stood on Ókólnir, the beer-hall of the giants, and that one is called Brimir.
This passage describes two great halls in this mythical world. The first hall is located to the north, on the plains of Niðavöllr, and is made of gold. It is said to be of the family of Sindri, a legendary dwarven craftsman who was said to have created many of the magical objects in Norse mythology. The second hall is located on Ókólnir, and is called Brimir. It is a beer-hall belonging to the giants, a race of beings who were often depicted as enemies of the gods in Norse mythology.
The mention of these halls serves to illustrate the rich and complex nature of this world, and to provide a sense of the vastness and majesty of the universe as imagined by the ancient Norse people.
​
38
Sal sá hon standa sólu fjarri
Náströndu á, norðr horfa dyrr.
Falla eitrdropar inn um ljóra,
sá er undinn salror ma hryggjum.
She saw a hall stand, quite far from the sun,on Nastrond. The doors face north,drops of venom fall in through the smoke hole.The hall is wound with the spines of snakes.
​
She saw a hall standing far from the sun on Nástrandir, and its doors facing north. Poison drops fall through the apertures, which is woven with serpents on the walls.
This verse describes the hall of the wicked in the afterlife. It is located far from the sun, in a place called Nástrandir. The doors of the hall face north, and the walls are decorated with serpents. The hall is constantly being soaked with poison drops, which creates a gloomy and frightening atmosphere. This is a vision of a very unpleasant afterlife, reserved for those who have committed terrible crimes during their life.
​
39
Sá hon þar vaða þunga strauma
menn meinsvara ok morðvarga
ok þann er annars glepr eyrarúnu.
Þar saug Niðhöggr nái framgengna,
sleit vargr vera. Vituð ér enn - eða hvat?
She saw there oath breakers and murderers,wading the swift stream. There were also those whodeceived the female advisers of others. Nithoggsucks dead bodies there, and the warg rips men apart. Do you want to know more, or what?
​
She saw there wading through heavy streams, men who perjured themselves and murderers, and those who seduced the wives of other men. There, Nidhogg sucked the corpses of the slain and the wolf tore them. Do you still need to know more, or what?
This verse continues the description of the hall of the wicked in the afterlife, Nástrandir. The scene is filled with gruesome imagery, as men who have committed terrible sins wade through heavy streams. Among them are perjurers, murderers, and adulterers. Nidhogg, a dragon in Norse mythology, sucks the blood of the corpses of the slain, while the wolf tears them apart. This is a vision of a horrifying and terrifying afterlife, reserved for those who have committed the most heinous of sins.
​
40
Austr sat in aldna í Járnviði
ok fæddi þar Fenris kindir.
Verðr af þeim öllum einna nokkurr
tungls tjúgari í trölls hami.
The old one sat in the Iron-woods in the eastand raised the brood of Fenrir.The worst one of them all,shall take the sun in the shape of a troll.
In Jarnvidr sat the old one to the east and gave birth to Fenrir's offspring. From all of them, there will be one, the moon's devourer, in the troll's disguise.
​
This stanza from Norse mythology describes an old woman who is believed to be the giantess Angrboda, giving birth to Loki's offspring in a forest called Jarnvidr. One of her offspring, Fenrir, is a monstrous wolf destined to kill Odin during the events of Ragnarok. The stanza implies that one of the offspring will be the moon's devourer, which is a reference to the belief that the moon is periodically swallowed by a giant wolf named Hati. The final line of the stanza suggests that this creature will be in the disguise of a troll.
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41
Fyllisk fjörvi feigra manna,
rýðr ragna sjöt rauðum dreyra.
Svört verða sólskin um sumur eftir,
veðr öll válynd. Vituð ér enn - eða hvat?
He fills himself on the flesh of dead men, reddens theseat of the gods with gore. The sun turned swarthy inthe following summers. The weather grew entirelyshifty. Do you want to know more, or what?
​
Shields will be gashed, a host of men will fall, and the sea will turn to blood. The sun will become black, the weather treacherous, the world will be plunged into darkness. Do you still need to know more?
​
The stanza foretells the violent and catastrophic events that will occur during Ragnarök, including battles, death, and natural disasters such as the sun turning black and the weather becoming unpredictable. The world will be plunged into darkness and chaos, and many people will die. The stanza serves as a warning of the impending doom and the need to prepare for it.
42
Sat þar á haugi ok sló hörpu
gýgjar hirðir, glaðr Eggþér;
gól um honum í galgviði
fagrrauður hani, sá er Fjalar heitir.
He sat on a howe hill strumming a harp.He was the herdsman of a giantess, he wasthe glad Eggther. The fair red cock called Fjalarsang to him from the gallows tree.
​
There sat on the mound and played the harp a giantess's shepherd, happy Eggther; around him crowed in the forest of the gallows a beautiful reddish rooster, called Fjalar.
This passage describes the creation of the world, its destruction, and its eventual rebirth. In this stanza, we see Eggther, a Jötunn or giant, playing the harp on a hill. He is watched by a rooster named Fjalar, who is described as being "fagrrauður," or beautiful reddish. The location is described as "Galgviði," which means "forest of the gallows," suggesting that this is a place of death or execution. The stanza creates a sense of ominous foreboding, as the story of the world's destruction begins to unfold.
​
43
Gól um ásum Gullinkambi,
sá vekr hölða at Herjaföðrs;
en annarr gelr fyr jörð neðan
sótrauðr hani at sölum Heljar.
Gullinkambi sang for the Ases.He wakes the heroes of Warfather.But another sings beneath the earth,a soot red cock in the halls of Hel.
​
Gullinkambi crowed among the gods, who wakes warriors to the father of hosts; while another crows down below the earth, a dark-red rooster at the halls of Hel.
This stanza describes two roosters crowing. The first one is Gullinkambi, who crows among the gods and wakes up the warriors for the father of hosts, referring to Odin, who is the god of war and the leader of the Norse gods. The second rooster crows down below the earth, in the halls of Hel, the goddess of death. This rooster is described as dark-red, which could symbolize death and the underworld.
​
44
Geyr nú Garmr mjök fyr Gnipahelli,
festr mun slitna en freki renna.
Fjölð veit ek fræða, fram sé ek lengra
um ragna rök römm sigtíva.
Garm bays loudly before Gnipa-Cave.The bonds are sheared and he runs hungry. I know much lore, yet see even more,of Ragnarok and the powerful victory Tivar.
​
Now Garmr barks loudly in front of Gnipahellir, The fetter will break and the wolf will run free. I know many prophecies, and I see further About the fate of the gods, the mighty ones.
In this verse, Garmr, a monstrous hound, barks loudly in front of Gnipahellir, a cave in the underworld. The fetter that is holding him will break, and he will run free. This is a sign that the end is near, and that the forces of chaos are about to be unleashed.
The speaker then says that they know many prophecies and can see further into the future. They hint at the coming doom of the gods and the final battle between the forces of good and evil.
​
45
Bræðr munu berjask ok at bönum verðask,
munu systrungar sifjum spilla;
hart er í heimi, hórdómr mikill,
skeggöld, skálmöld, skildir ro klofnir,
vindöld, vargöld, áðr veröld steypisk,
mun engi matr öðrum þyrma.
Brothers shall battle one another and fight to thedeath. Sister’s sons bring ruin on their sib.There is hardness on the world and great whoredomAn axe age, a sword age, shields are cloven.A wind age, a warg age, before the world falls,no man will spare the other.
​
Brothers will fight and kill each other, and sisters' children will defile kinship. It is harsh in the world, whoredom rife —an axe age, a sword age —shields are riven— a wind age, a wolf age— before the world goes headlong. No man will have mercy on another.
This stanza describes the chaos and destruction that will occur during the end of the world. The brothers and sisters mentioned likely refer to the gods, who will fight each other and bring about their own demise. The "axe age" and "sword age" suggest that weapons and violence will be prevalent during this time. Shields being "riven" suggests that even defensive measures will not be enough to protect against the onslaught. The "wind age" and "wolf age" suggest a time of harsh weather and the unleashing of dangerous beasts. Finally, the last line suggests that in this time of crisis, everyone will be out for themselves and no one will be safe from harm.
​
46
Leika Míms synir, en mjötuðr kyndisk
at inu galla Gjallarhorni.
Hátt blæss Heimdallr, horn er á lofti,
mælir Óðinn við Míms höfuð.
Mim’s sons play. The Meter will be set alight.Heimdall blows loudly on old Gjallarhornwith the horn aloft.Odin speaks with Mim’s head.
​
The sons of Mimir play, and the cauldron is kindled with the roaring Gjallarhorn.
Heimdallr blows high the horn is in the air, and Odin speaks with Mimir's head.
This stanza describes the beginning and end of the world. The scene depicts the beginning of the end, with the god Heimdallr blowing his horn to signal the start of the final battle between the gods and their enemies. The cauldron being kindled may refer to the boiling of the sea and the creation of the Midgard Serpent, a monstrous serpent that will emerge from the sea to join the forces of the enemies of the gods. The reference to Mimir's head may suggest that Odin has sought the wisdom of the wise giant Mimir in preparation for the battle.
​
47
Skelfr Yggdrasil saskr standandi,
ymr it aldna tré, en jötunn losnar.
Hræðask allir á helvegum
áðr Surtar þann sefi of gleypir.
Yggdrasil, the standing ash, is shaking.The old tree howls, the Ettin is loose.All who walk the Hel-roads are terrified,right before the kin of Surt swallow it.
​
Yggdrasil trembles, the ancient tree stands, the giant breaks free. All are afraid on the road to Hel before Surt swallows it down.
Yggdrasil is depicted as trembling and shaking, possibly due to the chaos and destruction that will ensue during Ragnarok, the World's apocalypse. Ymir, the primordial giant, is said to break free, adding to the impending doom. The stanza ends with a reference to Surt, a fire giant who will lead the forces of Muspell, the realm of fire, against the gods during Ragnarok, and ultimately swallow the world down in flames. All who are on the road to Hel (the underworld) are afraid of what is to come before Surt's final act.
​
48
Hvat er með ásum? Hvat er með álfum?
Gnýr allur Jötunheimr, æsir ro á þingi,
stynja dvergar fyr steindurum,
veggbergs vísir. Vituð ér enn - eða hvat?
How fare the Ases, how fare the elves? All of Ettinhome is in an uproar. The Aesir met in things.The dwarves groaned before stone gates,masters of the mountain walls.So do you want to know more, or what?
​
What's happening with the Æsir? What's happening with the elves? All Jötunheimr is roaring, the Æsir are holding a council, the dwarfs are groaning in front of their stone doors, wise in rock-lore. Do you still seek to know?
The speaker is asking a series of questions about the current situation of the gods (Æsir) and elves. Jötunheimr is the land of the giants, and the fact that it is roaring suggests that something significant and possibly dangerous is happening there. The Æsir are holding a council, indicating that they are discussing some important matter. The dwarfs, known for their skill in craftsmanship and mining, are groaning in front of their stone doors, possibly because they are afraid or disturbed by the events unfolding around them.
​
49
Geyr nú Garmr mjök fyr Gnipahelli,
festr mun slitna en freki renna,
fjölð veit ek fræða, fram sé ek lengra
um ragna rök römm sigtíva.
Garm bays loudly before Gnipa-cave.The bonds are sheared and he runs hungry.She knows much lore, but I see moreof Ragnarok and the powerful victory Tivar.
​
Now Garm howls loudly before Gnipahellir, The fetters will break and the wolf will run free, I know much, and see more still Of the fate of the gods and the coming of the great end.
Garmr is a fierce, monstrous dog associated with the underworld, and Gnipahellir is the cave where he guards the entrance to the realm of the dead. The howling of Garmr indicates that something terrible is about to happen.
The next line refers to the breaking of the fetters, which refers to the chains that bind the monstrous wolf Fenrir. When the fetters break, Fenrir is set loose, and this is a sign of impending chaos.
The third line suggests that the speaker has knowledge of what is going to happen and can see the events of Ragnarok unfolding before them. They claim to know much already but are expecting to learn more as the story continues.
The final line refers to the "fate of the gods" and the "coming of the great end," indicating that the events of Ragnarok are imminent and that the gods will meet their final destiny.
​
50
Hrymr ekr austan, hefisk lind fyrir,
snýsk Jörmungandr í jötunmóði.
Ormr knýr unnir, en ari hlakkar,
slítr nái Niðfölr, Naglfar losnar.
Hrym fares from the east, bearing a linden board.The worm Jormungand is engulfed by an ettin rageand churns the waves. The eagle screamsand its pale beak is cutting corpses. Naglfar is loose.
​
Hrymr drives from the east, the shield before him rises,
Jörmungandr writhes in giant rage.
The serpent twists and turns in the waves, and the eagle screams,
The ship Naglfar breaks free, and the nails of the ship are loosed.
​
This passage describes the events of the Ragnarök, the end of the world. Hrymr is a giant who comes from the east, and the shield rising before him suggests a massive wave or flood. Jörmungandr, the giant serpent that encircles the world, thrashes around in anger. The eagle, likely representing the god Odin, also cries out. Finally, Naglfar, a ship made of the fingernails of the dead, breaks free, suggesting that even the dead are rising to take part in the final battle.
51
Kjóll ferr austan, koma munu Múspells
um lög lýðir, en Loki stýrir.
Fara fíflmegir með freka allir,
þeim er bróðir Býleists í för.
The ship fares from the East.The folk of Muspell come over the sea,with Loki steering. Kinsmen of foolsfare with Freki, Beylast’s brother.
​
Ship sails from the east, a host of Muspell will come over the sea, but Loki steers. All the monstrous throng are on their way with the brother of Byleist as their guide.
This stanza describes the arrival of the fire giants from Muspellheim, who will cross the sea and arrive in Asgard to join the battle at Ragnarok. Loki, who has allied with the giants, is steering their ship. The stanza also mentions the monstrous throng who are accompanying the giants and are being led by the brother of Byleist, presumably another giant.
​
52
Surtr ferr sunnan með sviga lævi,
skín af sverði sól valtíva,
grjótbjörg gnata, en gífr rata,
troða halir helveg en himinn klofnar.
Surt fares from the south with the bane of branches.The sun of the slaughter Tivar shines from his sword.Crags shake, and fiends reel.Heroes walk the Hel-road. Heaven is cloven.
​
Surtr moves from the south with the flame of the sword,
the sun of the valiant gods shines from his sword.
The rock mountains crash, trolls topple,
men tread the road to Hel, and heaven is split open.
In this part of the poem, Surtr, a fire giant, is described as coming from the south with a flaming sword. He is accompanied by other giants and they cause destruction and chaos wherever they go. The line mentions that the sun shines from his sword, indicating that his weapon is extremely bright and powerful. The crashing of rock mountains and toppling of trolls symbolize the upheaval and destruction that the giants bring. Men are seen walking towards Helheim, the underworld, suggesting that they are dying or facing some kind of doom. Finally, the line mentions that the heaven is split open, which is likely a metaphor for the end of the world.
​
53
Þá kemr Hlínar harmr annarr fram,
er Óðinn ferr við úlf veka,
en bani Belja bjartr at Surti;
þá mun Frigg jarfalla angan.
Another sort of grief comes to Hlinwhen Odin fares to fight the wolf and the illustrious Bane of Beli to battle with Surt.Frigg’s lover will then fall.
​
Then comes the second sorrow of Hlín, when Odin goes to fight the wolf, and the bright slayer of Beli goes against Surt; then Frigg's beloved falls.
This stanza describes a series of events that will occur during Ragnarok. The first line mentions Hlín, who is a goddess associated with protecting people from harm. Her second sorrow refers to the death of her chosen ones, or perhaps her own death.
The second line mentions Odin and his battle with the wolf Fenrir, who was foretold to kill Odin during Ragnarok. The third line mentions the bright slayer of Beli, who is another name for the god Heimdall. Heimdall is said to kill the fire giant Surt during the final battle.
The fourth line mentions Frigg, who is Odin's wife and the goddess of marriage and motherhood. Her beloved, which could be interpreted as either her son Baldr or her husband Odin, falls. This likely refers to their deaths during the chaos of Ragnarok.
​
54
Þá kemr inn mikli mögr Sigföður,
Víðarr, vega at valdýri.
Lætr hann megi Hveðrungs mundum standa
hjör til hjarta, þá er hefnt föður.
Then comes the mighty son of Victory-father,Vithar, to vie with the deadly beast.He struck the heart of Hvethrung’s son and so his father was avenged.
​
Then comes the great son of Victory Father [Odin],
Vidar, to fight with the beast [Fenrir].
He thrusts his sword into the heart of the father's slayer,
avenging his father's death.
This passage is part of the larger account of the Norse mythological event known as Ragnarok, which describes the end of the world and the battle between the gods and their enemies. In this passage, Vidar, one of Odin's sons, is described as coming forward to fight the monstrous wolf Fenrir, who killed Odin during the course of the battle. Vidar thrusts his sword into the beast's heart, avenging his father's death and playing a crucial role in the gods' eventual victory over their enemies.
​
55
Ginn lopt yfir lindi jarðar,
gapa ýgs kjaptar orms í hæðom;
mun Óðins sonr ormi mæeta,
vargs at dauða Viðard niðia.
The fierce jaws of the earth encircling wormgaped from the hills at the holy sky.Then Odin´s son meets the worm,Vithar’s kinsman slays the warg.
​
Ginn-lopt, the vast sky, spans over the tree of the earth, and the jaws of the rapid serpent yawn in the heights. Then the son of Odin, Vidar, will meet the serpent, the wolf's killer, and pierce its heart with his sword, thus avenging his father.
This stanza depicts the epic battle between Vidar, one of the sons of Odin, and the monstrous serpent that emerges from the depths of the sea during Ragnarok. Vidar is known as the god of silence and revenge and is said to be one of the strongest and bravest gods. He is one of the few surviving gods after the events of Ragnarok, and his role is to avenge his father's death by slaying the mighty Fenrir wolf. In this stanza, it is said that Vidar will meet the serpent, which represents chaos and destruction, and defeat it with his sword. This event symbolizes the triumph of order and justice over chaos and evil.
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56
Þá kemr inn mæri mögr Hlóðynjar,
gengr Óðins sonr við orm vega,
drepr af móði Miðgarðs véurr,
munu halir allir heimstöð ryðja;
gengr fet níu Fjörgynjar burr
neppur frá naðri níðs ókvíðnum.
Then came the mighty son of Hloth (the earth).Odin’s son strode to fight against the wolf.In rage Midgard’s ward dropped him.All heroes shall leave the homestead.Fjorgyn’s son strode nine stepsback from the serpent, not worried about fame.
​
Then comes the glorious son of Hlóðyn, goes to fight with the serpent, slays the enemy of Midgard, all men will abandon their homesteads. Nine paces fares the son of Fjörgyn, and he steps on the head of the serpent, fearless.
The heroics of Thor, the son of Odin and the Earth goddess Fjörgyn. He is called "the glorious son of Hlóðyn" which is one of his mother's names. Thor battles with Jörmungandr, the great serpent, which is one of the monsters born from Loki's union with the giantess Angrboða. This battle between Thor and the serpent is one of the most significant events in Norse mythology, as it marks the beginning of the end of the world. Despite the danger and the magnitude of the battle, Thor is fearless and triumphant. The mention of "Nine paces" refers to Thor's steps as he approaches the serpent.
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57
Sól tér sortna, sígr fold í mar,
hverfa af himni heiðar stjörnur.
Geisar eimi ok aldrnara,
leikr hár hiti við himin sjálfan.
The sun turned dark, and the land sank into the seaThe bright stars fell from heaven.Steam and fire ferment.Flames leap high to heaven itself.
​
The sun turns black, earth sinks in the sea, the hot stars down from heaven are whirled; fierce grows the steam and the life-feeding flame, till fire leaps high about heaven itself.
This stanza describes the end of the world or "Ragnarök" in Norse mythology. The sun turning black and the stars falling from heaven are all signs of the apocalypse. The earth sinking into the sea represents the destruction of the world, and the flames rising high symbolize the intense heat of the final battle. The stanza creates a vivid image of the end of the world, showing the devastating power of the Norse gods and the ultimate fate of the world.
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58
Geyr nú Garmr mjök fyr Gnipahelli,
festr mun slitna en freki renna,
fjölð veit ek fræða fram sé ek lengra
um ragna rök römm sigtíva.
Garm bays loudly before Gnipa-cave.The bonds are sheared and he runs hungry.She knows much lore, but I see moreabout Ragnarok and the Powerful Victory Tivar.
​
Now Garmr howls loudly before Gnipahellir, Fetters will break, and the wolf will run free; I know much, and more I see Of the fate of the powers, the mighty gods.
In this stanza, the giant wolf Garmr is howling before the entrance to the underworld, known as Gnipahellir. The "fetters" mentioned are likely those that bind the wolf Fenrir, who is destined to break free during Ragnarok and fight against the gods. The stanza suggests that the narrator has knowledge of the coming events of Ragnarok and the fate of the gods, hinting at the apocalyptic nature of the poem.
​
59
Sér hon upp koma öðru sinni
jörð ór ægi iðjagræna.
Falla fossar, flýgr örn yfir,
sá er á fjalli fiska veiði.
She sees another rise up, earth from the ocean,all agreen. Torrents flowand the eagle flies abovescanning the fells and hunting fish.
​
She sees arise for the second time earth from the sea, clothed with verdure; waterfalls descending, an eagle flying above them, fish he catches on the mountain slope.
The seeress (Volva) sees the earth rise again from the sea, renewed and green. The previous world was destroyed in the great cataclysm that occurred in the previous verses, and now a new world is emerging. The image of waterfalls descending and an eagle flying above them is a powerful symbol of nature's majesty and beauty, and the eagle catching fish on the mountain slope suggests a return to a simpler way of life after the devastation of the previous world. This verse is an important part of the Völuspá's cyclical vision of history, in which the world is destroyed and reborn again and again.
60
Finnask æsir á Iðavelli
ok um moldþinur máttkan dæma
ok minnask þar á megindóma
ok á Fimbultýs fornar rúnir.
The Aesir meet in Ida-Valeand talk of the mighty Midgard worm,recalling the mighty doomand Fimbulty’s ancient runes.
​
The Aesir meet on Idavellir and confer together about the mighty deeds and call to mind the great examples and the ancient runes of Fimbultyr.
Idavellir (also known as Iðavöllr) is a location associated with the god Odin, where the Aesir (the gods of Asgard) hold their meetings. The term "moldþinur" is a kenning, which is a poetic device used in Old Norse poetry to describe something in a roundabout way. In this case, it refers to the Aesir as "mighty powers" or "mighty judges." "Fimbultyr" is another name for the god Odin, and the "fornar rúnir" (ancient runes) mentioned in the last line may refer to the magical knowledge and wisdom associated with Odin.
​
61
Þar munu eftir undursamligar
gullnar töflur í grasi finnask,
þærs í árdaga áttar höfðu.
They will again find the wondrous gold chess pieces in the grass,those they had owned in the days of yore.
​
Thereafter, wondrous things will be discovered, golden tablets in the grass, which in ancient times were possessed by mighty rulers.
The stanza suggests that after the apocalypse, some amazing things will be discovered, such as golden tablets that were once possessed by powerful rulers. The tablets are described as being found in the grass, which might suggest that they were buried or hidden, waiting to be discovered by someone.
​
62
Munu ósánir akrar vaxa,
böls mun alls batna, Baldr mun koma,
búa þeir Höðr ok BaldrHrofts sigtóftir
vé valtívar. Vituð ér enn - eða hvat?
The unsown acres will then grow. Evil will turnbetter, Baldr will return. Both Baldr and Hothshall live in Hropt’s victory hall, the work of the gods.Do you want to know more, or what?
​
Meadows unsown will grow there, all of the harm will be healed; Baldr will come, and Höðr, they will dwell in Hroft's victory-halls; The gods will then have a well-built shelter.
After the destruction of Ragnarok, new life will emerge, and the world will be renewed. The unsown meadows will start growing again, and all the damage that was done during the war will be healed. Baldr, who was killed by his blind brother Höðr, will return to life and live with him in Hroft's victory-halls. The gods will have a new home, a well-built shelter to live in. This stanza offers a glimpse of hope after the apocalyptic events of Ragnarok.
​
63
Þá kná Hænir hlautvið kjósa
ok burir byggja bræðra tveggja
vindheim víðan. Vituð ér enn - eða hvat?
Hoenir will then handle the lot wood, his brother’stwo sons will live there in the wide wind home.Do you want to know more, or what?
​
Then Hoenir can choose his lot in the slaying,
and the twain will dwell in Wind-Home wide.
Know ye yet, or what?
This verse is part of the description of the events of Ragnarok, the Norse myth of the end of the world. Hoenir is one of the Æsir, the gods of Asgard, and he is here said to choose his lot in the slaying, which likely means he chooses his fate in the coming battle. The "twain" likely refers to the surviving gods, who will dwell in Wind-Home (Vindheimr), a location in Norse mythology. The final line, "Vituð ér enn - eða hvat?" translates to "Do you yet know, or what?" and is a recurring refrain throughout the poem, suggesting that the events described are significant and worthy of attention.
​
64
Sal sér hon standa sólu fekra,
gulli þakðan á Gimléi.
Þar skulu dyggvar dróttir byggja
ok um aldrdaga ynðis njóta.
She sees a hall, standing fairer than the sun,thatched with gold in Gimle.There the worthy drightensshall dwell, forever in happiness.
​
She sees a hall standing brighter than the sun, covered with gold on Gimlé. There the faithful people shall live and enjoy bliss for all ages.
This stanza describes the hall Gimlé, which is said to be located in the realm of the gods after the end of the world. It is described as being brighter than the sun and covered with gold. It is a place of eternal happiness and joy, where the faithful people will live after the world has been renewed. The stanza emphasizes the idea of reward for the righteous and the promise of eternal happiness in the afterlife.
​
65
Þá kemr inn ríki at regindómi
öflugr ofan, sá er öllu ræðr.
​
This stanza might not be complete.
Then comes the strong one, to the doom of the gods,the awesome one from above who rules all.
​
There comes on high, all power to hold,
A mighty lord, all lands he rules.
​
Then comes the powerful one from above to the realm of the gods, he who rules over everything.
​
This passage is likely referring to the arrival of a powerful god or figure who will establish his dominion over the world.
66
Þar kemr inn dimmi dreki fljúgandi,
naðr fránn, neðan frá Niðafjöllum;
berr sér í fjöðrum, - flýgur völl yfir, -Niðhöggr nái. Nú mun hon sökkvask.
The dark drake comes flying,the flashing viper from under Nitha-FellsShe sees Nithogg carrying corpses in his feathersas he flies over the valley. Now she shall sink down.
​
Then comes flying the dark dragon, the shining serpent from below, from Nithafjoll; it carries in its wings, - flies over the plain - Nidhogg of corpses. Now she will sink down.
​
This passage describes the appearance of the dragon Nidhogg, also known as the "striker with malice", who lives at the base of Yggdrasil, the world tree in Norse mythology. The dragon flies over the plain while carrying corpses in its wings, and according to the myth, it gnaws at the roots of Yggdrasil. The last sentence suggests that the dragon will eventually be defeated or overcome.
Summary of each verse to give you an idea of the poem's structure and content:
The poem begins with the seeress calling upon the gods to listen to her tale.
The seeress tells of the world's creation from the void and the emergence of the first beings.
She describes the creation of the gods and the great hall of Valhalla.
The seeress describes the god Odin and his search for knowledge.
She tells of the creation of the first man and woman, Ask and Embla.
The seeress describes the gods' meeting place, the plain of Ida.
She tells of the three norns, the goddesses of fate, who shape the destiny of all beings.
The seeress describes the gods' daily routine, including their feasts and battles.
She tells of the giant Ymir, the first being, and his creation of the world.
The seeress describes the gods' murder of Ymir and the creation of the world from his body.
She tells of the creation of the dwarves and their skills as craftsmen.
The seeress describes the gods' creation of the first humans, and how they were given life and intelligence by the gods.
She tells of the god Heimdall and his role as the guardian of the rainbow bridge, Bifrost.
The seeress describes the great ash tree Yggdrasil, which connects the nine worlds of Norse mythology.
She tells of the dragon Nidhogg, who gnaws at the roots of Yggdrasil.
The seeress describes the giant eagle who lives at the top of Yggdrasil.
She tells of the four stags who graze on the branches of Yggdrasil.
The seeress describes the god Odin's quest for knowledge, including his self-sacrifice on the World Tree.
She tells of Odin's discovery of the runes, the magical symbols of the Norse gods.
The seeress describes the goddess Frigg and her role as the wife of Odin.
She tells of the god Thor and his great strength and bravery.
The seeress describes the goddess Idun and her role as the keeper of the golden apples that give the gods eternal youth.
She tells of Loki, the trickster god, and his many misdeeds.
The seeress describes the death of Balder, the most beloved of the gods.
She tells of Hel, the goddess of the dead, and her realm of the same name.
The seeress describes the god Tyr and his role as the god of justice and law.
She tells of the wolf Fenrir, who is destined to kill the god Odin.
The seeress describes the god Frey and his role as the god of fertility and prosperity.
She tells of the goddess Freya and her role as the goddess of love and fertility.
The seeress describes the giant Surt, who will bring about the end of the world.
She tells of the beginning of Ragnarok, the final battle between the gods and their enemies.
The seeress describes the deaths of many of the gods, including Odin and Thor.
She tells of the rise of a new world after the destruction of the old one.
The seeress describes the return of the god Balder and the reunion of the gods in a new and peaceful world.
She tells of the two humans, Lif and Lifthrasir, who will survive the destruction of the world and repopulate it.
The seeress describes the golden game that the gods will play in the new world.
She tells of the god Vidar, who will avenge his father's death by killing the wolf Fenrir.
The seeress describes the goddess Vali, who will avenge the death of her brother Balder by killing his killer.
She tells of the god Heimdall and his role in the final battle.
The seeress describes the ship Naglfar, made of the nails of dead men, which will carry the army of the dead to the final battle.
She tells of the god Surtr and his role in the final battle.
The seeress describes the final destruction of the world and the end of all life.
She tells of the great hall Gimle, which will survive the destruction and be a haven for the good and righteous.
The seeress describes the rebirth of the world and the new era of peace and harmony.
She tells of the gods' return to the plain of Ida and their reunification.
The seeress describes the new race of humans who will inhabit the world in the new era.
She tells of the mighty river that flows through the new world, full of fish.
The seeress describes the new sun and moon that will shine in the new world.
She tells of the hall of the slain, Valhalla, and the warriors who will live there in the new world.
The seeress describes the gods' joy and happiness in the new world.
She tells of the great god Bragi and his role as the god of poetry and music.
The seeress describes the god Forseti and his role as the god of justice and mediation.
She tells of the goddess Saga and her role as the goddess of history and storytelling.
The seeress describes the goddess Eir and her role as the goddess of healing.
She tells of the goddess Gefjon and her role as the goddess of fertility and farming.
The seeress describes the god Ullr and his role as the god of hunting and archery.
She tells of the goddess Snotra and her role as the goddess of wisdom and etiquette.
The seeress describes the god Loki's punishment for his misdeeds.
She tells of the goddess Sigyn and her loyal love for Loki.
The seeress describes the final fate of Loki and his offspring.
She tells of the final judgment of all beings by the gods.
The seeress describes the new order of things in the new world.
She tells of the goddess Hel and her realm of the dead.
The seeress describes the giantess who guards the world-encircling serpent.
She tells of the god Hoenir and his role in the creation of the world.
The seeress concludes the poem by saying that she has told all she knows and hopes that her words will be remembered.
​
Hávamál
1
Gáttir allar áðr gangi fram
um skoðask skyli,
um skyggnast skyli,
því at óvíst er at vita hvar óvinir
sitja á fleti fyrir
Consider all the paths before you proceed, look well into your actions, examine closely, because it is uncertain where enemies sit in wait ahead.
This stanza emphasizes the importance of careful consideration and observation before taking action. It advises one to examine all the possible paths and choices available before proceeding. The line "Consider all the paths before you proceed" encourages thorough contemplation of the options and potential consequences. The following lines urge the individual to look well into their actions and scrutinize them closely.
The final two lines highlight the uncertainty and potential danger that may exist. It suggests that enemies or adversaries may be lurking in unforeseen places or situations. The phrase "where enemies sit in wait ahead" serves as a cautionary reminder that threats or obstacles might be present, emphasizing the need for vigilance and careful assessment of one's surroundings.
Overall, this stanza encourages thoughtful deliberation, careful examination, and awareness of potential risks before moving forward, underscoring the importance of being prepared and cautious in the face of uncertainty.
​
2
Gefendr heilir! Gestr er inn kominn,
hvar skal sitja sjá?
Mjök er bráðr sá er á bröndum skal
síns um freista frama.
Be greeted with blessings! A guest has arrived, where shall he sit? He who is eager shall quickly test his own success.
"Be greeted with blessings!" is an invocation or greeting to the guest who has just arrived. The speaker is welcoming the guest and extending good wishes to them.
The next line asks the question, "where shall he sit?" It is a common hospitality gesture to provide a seat or place for the guest, and the speaker is inquiring about the appropriate seating arrangement for the newly arrived visitor.
The following two lines explain the eagerness and proactive nature of the guest. It states that the one who is enthusiastic or eager to make progress will quickly assess the situation and take initiative to find a suitable place to sit. The phrase "test his own success" implies that the guest is proactive in seeking opportunities and making the most of the situation. The guest is portrayed as someone who doesn't hesitate to act and is eager to make a favorable impression or achieve their goals.
Overall, this stanza highlights the importance of welcoming and accommodating guests while also emphasizing the proactive nature of individuals who are driven to seek opportunities and make progress. It reflects the cultural value of hospitality and the virtue of taking initiative.
​
3
Elds er þörf þeims inn er kominn
ok á kné kalinn.
Matar ok váða er manni þörf,
þeim er hefr um fjall farit.
Fire is needed by the one who has come inside and is chilled at the knees. Food and clothing are necessary for the one who has traveled over the mountains.
The first line states that fire is needed by the person who has entered a place and is feeling cold, particularly in their knees. This line emphasizes the importance of warmth and comfort for someone who has been exposed to the elements or is experiencing physical discomfort due to cold temperatures.
The next two lines highlight the basic needs of an individual who has traveled over mountains or difficult terrain. It states that food and clothing are essential for someone who has undertaken such a journey. This suggests that after enduring the hardships of mountainous travel, nourishment and appropriate attire are necessary to restore and sustain their well-being.
Overall, this stanza emphasizes the significance of providing warmth, hospitality, sustenance, and comfort to individuals who have embarked on challenging journeys. It reflects the values of compassion, empathy, and the understanding that physical needs must be met after enduring hardships.
​
4
Vatns er þörf þeim er til verðar kemr,
þerru ok þjóðlaðar,
góðs um æðis ef sér geta mætti
orðs ok endrþögu.
Water is needed by the one who arrives in need, for washing and quenching thirst, good for their enjoyment, if they could have, words and a welcoming response.
The first line states that water is needed by someone who arrives in a state of need or exhaustion. This water serves two purposes: washing oneself and quenching one's thirst. It highlights the importance of cleanliness and hydration for someone who has traveled and may be physically tired or dirty.
The next two lines suggest that it would be beneficial and enjoyable for the person if they could have not only water but also kind and welcoming words. The phrase "good for their enjoyment" indicates that positive and friendly communication, along with the provision of water, would contribute to the person's well-being and satisfaction. It emphasizes the value of hospitality, not just in terms of physical needs but also in terms of social interaction and warmth.
Overall, this stanza underscores the significance of providing water, cleanliness, and kind words to someone who arrives in a state of need. It reflects the cultural value of hospitality and the understanding that meeting both physical and social needs contributes to the well-being and comfort of the traveler or guest.
​
5
Vits er þörf þeim er víða ratar;
dælt er heima hvat;
at augabragði verðr sá er ekki kann
ok með snotrum sitr.
Wisdom is needed by the one who wanders widely; it is useful at home what is acquired abroad; he who knows nothing and sits with the wise will be mocked for his lack of insight.
The first line states that wisdom is needed by someone who travels and explores extensively. It suggests that having knowledge and understanding is beneficial for those who venture out into the world and encounter different experiences and cultures. This line emphasizes the value of wisdom as a guiding force for making informed decisions and navigating unfamiliar territories.
The second line expresses the idea that what is acquired through experiences and knowledge gained while traveling can be applied and useful at home. It implies that the wisdom and insights acquired abroad can be brought back and applied to one's own life and surroundings, enhancing one's understanding and ability to navigate their own environment.
The final two lines highlight the consequences of lacking knowledge and insight while sitting among wise individuals. It suggests that someone who knows nothing and tries to engage with knowledgeable people will be met with ridicule or mockery due to their lack of understanding. This emphasizes the importance of actively seeking knowledge and not presuming to be knowledgeable without proper learning and understanding.
Overall, this stanza emphasizes the value of wisdom and knowledge gained through exploration and experiences. It underscores the importance of seeking wisdom, being receptive to learning, and avoiding pretense or ignorance when engaging with those who possess knowledge.
6
At hyggjandi sinni skylit maðr hræsinn vera,
heldur gætinn at geði;
þá er horskur ok þögull kemr heimisgarða til,
sjaldan verðr víti vörum,
því at óbrigðra vin fær maðr aldregi
en mannvit mikit
A man should not be timid with his reflective mind, but rather watchful in thought; when a wise and silent one enters the realm of men, trouble seldom befalls him, for a more trustworthy friend a man never acquires than great understanding.
The first line states that a person should not be fearful or timid when it comes to their thoughtful or reflective mind. It implies that one should be confident and assertive in expressing their ideas, opinions, and insights. The line encourages individuals to embrace their intellect and engage in meaningful reflection.
The second line advises being watchful and attentive in one's thoughts and mental processes. It suggests that maintaining a vigilant and focused mind is important for making sound decisions and navigating life's challenges.
The following two lines describe the favorable outcome when a wise and silent person enters the human realm or society. It states that trouble or punishment rarely befalls such an individual. This implies that someone who possesses wisdom and chooses their words and actions carefully is less likely to encounter negative consequences.
The final two lines highlight the value of great understanding or wisdom. It suggests that having a friend who possesses profound knowledge and insight is more reliable and beneficial than any other kind of companion. It emphasizes the importance of intellectual acumen and implies that such wisdom is a valuable asset in life.
Overall, this stanza encourages individuals to be confident in expressing their thoughtful ideas, emphasizes the importance of being attentive in one's thoughts, and underscores the value of wisdom and understanding in navigating life's challenges and forming trustworthy relationships.
7
Inn vari gestr er til verðar kemr
þunnu hljóði þegir,
eyrum hlýðir, en augum skoðar;
svá nýsisk fróðra hverr fyrir.
The reserved guest who arrives remains silent with few words, listening with ears and observing with eyes; thus each wise person gains knowledge.
The first line describes a guest who is characterized as reserved or quiet when they arrive. This guest chooses not to speak extensively and instead keeps their words to a minimum.
The second line highlights the guest's attentive nature. They listen carefully with their ears and observe keenly with their eyes. This suggests that the guest is focused on absorbing information and paying close attention to their surroundings and the conversations taking place.
The final two lines express the outcome of this observant and reserved behavior. It states that each wise person benefits from such a mindset. By being quiet and attentive, individuals have the opportunity to gain knowledge and insight from their observations and the conversations of others.
Overall, this stanza emphasizes the value of being reserved, observant, and attentive in social situations. It suggests that by listening and observing, individuals can acquire wisdom and understanding. It encourages the practice of active listening and thoughtful observation as a means of gaining knowledge and deepening one's understanding of the world.
8
Hinn er sæll er sér um getr
lof ok líknstafi;
ódælla er við þat, er maðr eiga skal
annars brjóstum í.
Blessed is the one who obtains praise and support for oneself; less fortunate is the one who must rely on the breast of another.
The first line states that someone is considered blessed or fortunate when they receive praise and support. This implies that when individuals are recognized and appreciated for their abilities, actions, or qualities, it brings them joy and satisfaction.
The second line suggests that obtaining praise and support serves as a form of encouragement or reassurance. It can provide strength and stability to the individual, represented metaphorically by the mention of "lof" (praise) and "líknstafi" (support or assistance).
The following two lines contrast the previous statement by stating that someone is less fortunate when they must rely on the breast or support of another person. It implies that relying solely on others for sustenance, support, or validation can be a less desirable situation. It emphasizes the value of self-reliance and the ability to find one's own sources of praise and support.
Overall, this stanza highlights the importance of receiving recognition and support but also emphasizes the value of independence and self-sufficiency. It suggests that while external praise and support can be beneficial, it is more desirable to be self-sustaining and self-reliant.
9
Sá er sæll er sjálfr um á
lof ok vit, meðan lifir;
því at ill ráð hefr maðr oft þegit
annars brjóstum ór.
The one is blessed who has praise and wisdom for oneself while alive; for a person has often suffered ill advice from the breasts of others.
The first line states that someone is considered blessed or fortunate when they possess praise and wisdom for themselves. This suggests that individuals who have self-confidence, self-esteem, and self-awareness are in a favorable position. They have their own sources of validation and knowledge, which contribute to their well-being.
The second line emphasizes that this state of being self-sufficient and self-aware is valuable during one's lifetime. It implies that possessing praise and wisdom while alive brings benefits and fulfillment.
The following two lines caution against relying solely on the advice or opinions of others. It states that a person has often suffered from ill advice or poor counsel when they solely depend on others for guidance. This highlights the potential pitfalls of unquestioningly following the advice or opinions of others, as it can lead to negative outcomes or regret.
Overall, this stanza highlights the importance of self-confidence, self-reliance, and independent thinking. It suggests that relying on one's own judgment and cultivating one's own wisdom and praise is preferable to solely depending on the advice or opinions of others, as those sources may not always be reliable or beneficial.
10
Byrði betri berrat maðr brautu at
en sé mannvit mikit;
auði betra þykkir þat í ókunnum stað;
slíkt er válaðs vera.
A man should bear a better burden on his journey than great knowledge; better it seems to be rich in an unfamiliar place; such is the way of the wandering wolf.
The first line suggests that it is more beneficial for a person to bear a better burden or carry a valuable possession while on their journey than to possess great knowledge alone. This implies that practical resources, such as material wealth or tangible support, can be more advantageous in certain situations than intellectual knowledge alone.
The second line emphasizes the perspective that being rich or wealthy in an unfamiliar or unknown place is considered better. It suggests that having material resources or possessions can provide security and ease in unfamiliar surroundings, offering a sense of comfort and stability.
The final two lines compare this notion to the way of the wandering wolf. It implies that like a wolf in its nomadic nature, it is advantageous to have practical resources and be self-reliant rather than relying solely on extensive knowledge. Wolves are known for their ability to adapt to different environments and survive in the wilderness, embodying the idea of being prepared and self-sufficient.
Overall, this stanza highlights the practicality and value of tangible resources and self-sufficiency, particularly in unfamiliar or challenging situations. It suggests that material wealth and practical resources can often be more advantageous than intellectual knowledge alone, drawing a parallel to the adaptive nature of a wandering wolf.
11
Byrði betri berrat maðr brautu at
en sé mannvit mikit;
vegnest verra vegra hann velli at
en sé ofdrykkja öls.
A man should bear a better burden on his journey than having great knowledge; it is less likely that he will stumble on the path than if he drinks too much ale.
The first line suggests that it is preferable for a person to carry a better burden or valuable possessions while on their journey than to solely rely on having extensive knowledge. It implies that practical resources or tangible support can be more beneficial and reliable in certain situations than intellectual knowledge alone.
The second line emphasizes that having great knowledge alone does not guarantee success or stability. It implies that possessing extensive knowledge does not necessarily prevent stumbling or facing obstacles along the way.
The following two lines make a comparison, stating that it is more likely for a person to stumble or face difficulties if they drink too much ale. This suggests that excessive indulgence, in this case, excessive drinking, can impair one's ability to navigate the path or make wise decisions, leading to negative consequences.
Overall, this stanza highlights the importance of practicality and moderation. It suggests that having practical resources and being responsible in one's actions are more reliable factors for a successful journey than solely relying on intellectual knowledge or engaging in excessive indulgence. It emphasizes the value of balance and responsible behavior in achieving one's goals and avoiding unnecessary obstacles.
12
Era svá gótt sem gótt kveða
öl alda sonum,
því at færa veit er fleira drekkr
síns til geðs gumi.
No ale is as good as it is praised to the sons of men; for he knows better who drinks it often to his own joy and benefit.
The first line states that no ale is as good as it is praised. It suggests that the quality of ale or the enjoyment it brings may be exaggerated or subjective based on individual preferences. What one person considers excellent may not be universally true.
The second line highlights that ale is enjoyed by the sons of men, implying that it is a popular beverage among humans and has cultural significance.
The following two lines emphasize the idea that the person who frequently drinks ale knows better about its qualities. It suggests that someone who drinks ale often is more knowledgeable about its various types, flavors, and effects. They have a deeper understanding of how it affects their mood and well-being.
The last line suggests that drinking ale in moderation and in a way that brings joy and benefit to oneself is key. It implies that the individual knows their own limits and preferences, and by drinking responsibly, they can derive the most enjoyment and benefits from it.
Overall, this stanza acknowledges the enjoyment and popularity of ale among humans while emphasizing the importance of individual experience and responsibility in determining its value. It suggests that the person who drinks ale frequently and understands their own preferences can better appreciate its qualities and derive the most joy and benefit from it.
13
Óminnishegri heitir sá er yfir ölðrum þrumir;
hann stelr geði guma;
þess fugls fjöðrum ek fjötraðr vark
í garði Gunnlaðar.
The one who is called "Óminnishegri" is the master of all deceit; he steals the minds of men; with the feathers of that bird, I was shackled in Gunnlöð's garden.
The first line introduces a character named "Óminnishegri." The meaning of this name is uncertain, but it can be interpreted as "the one who deceives all" or "the master of all deceit." This character is associated with trickery and manipulation.
The second line describes how Óminnishegri surpasses others in his ability to deceive or manipulate. He has the power to steal the minds or thoughts of men, suggesting that he is skilled at influencing and controlling people's thinking.
The following two lines provide a personal experience or anecdote. The speaker states that they were bound or shackled by the feathers of this bird, which is associated with Óminnishegri. The bird's feathers symbolize the deceptive influence or control exerted by Óminnishegri.
The final line mentions the specific location where the speaker was bound, which is Gunnlöð's garden. Gunnlöð is a figure from Norse mythology associated with the myth of the Mead of Poetry, a magical drink that grants poetic inspiration and wisdom.
Overall, this stanza warns of the cunning and deceptive nature of Óminnishegri, who has the ability to manipulate and steal the minds of individuals. The personal experience described by the speaker suggests that they have encountered this deceitful character and were affected by their influence. The reference to Gunnlöð's garden adds a mythical context and further emphasizes the consequences of falling under the control of Óminnishegri's deceitful powers.
14
Ölr ek varð, varð ofrölvi
at ins fróða Fjalars;
því er ölðr bazt, at aftr um heimtir
hverr sitt geð gumi.
I became drunk, excessively drunk, in the wise Fjalar's abode; thus it is best when one can recover one's own mind in a sober state.
The first line states that the speaker became drunk, specifically using the word "ölr" which means "drunk" or "intoxicated." The following phrase, "varð ofrölvi," intensifies the state of drunkenness, suggesting that they became excessively drunk.
The second line mentions the location where this occurred: in the abode of Fjalar, who is described as wise. Fjalar is a figure from Norse mythology associated with deceit and trickery.
The third line suggests that it is preferable or best for a person to recover or regain their own mind in a sober state. It emphasizes the importance of sobriety and clarity of thought. By returning to a sober state, one can regain control over their thoughts and actions.
The final line emphasizes the individual responsibility of each person to seek and maintain control over their own mind. It suggests that it is best for each person to take ownership of their own mental state and not rely on external factors or substances to determine their state of mind.
Overall, this stanza serves as a cautionary reminder about the potential consequences of excessive drinking and the importance of maintaining a clear and sober state of mind. It suggests that regaining control over one's own thoughts and actions is essential for personal well-being and decision-making. It highlights the individual's responsibility for their mental state and encourages sobriety as the preferred state for sound judgment and self-awareness.
15
Þagalt ok hugaltskyldi þjóðans barn
ok vígdjarft vera;
glaðr ok reifr skyli gumna hverr,
unz sinn bíðr bana.
Silent and introspective should a nation's child and battle-bold be; cheerful and generous should each person be until their appointed death.
The first line describes the ideal characteristics of a nation's child. They should be silent, which can be interpreted as being thoughtful, observant, and cautious with their words. Additionally, they should be introspective, implying a tendency towards self-reflection and deep thinking.
The second line states that the nation's child should also be "battle-bold," suggesting that they possess bravery, courage, and readiness for conflict or challenges. This line highlights the importance of strength and valor in facing adversities.
The third line states that each individual should be cheerful and generous. Being cheerful implies having a positive attitude and spreading joy to others. Being generous implies being kind and giving towards others, both in terms of material possessions and emotional support.
The final line states that these qualities and attitudes should persist in each person until their appointed death. It suggests that individuals should maintain these positive traits and values throughout their lives, up until the moment of their inevitable death.
Overall, this stanza sets forth an ideal code of conduct for individuals within a society. It emphasizes the importance of thoughtfulness, courage, cheerfulness, and generosity. These qualities are considered valuable and desirable, and it suggests that individuals should uphold these virtues throughout their lives.
16
Ósnjallr maðr hyggsk munu ey lifa,
ef hann við víg varask;
en elli gefr hánum engi frið,
þótt hánum geirar gefi.
A wise man, it is thought, will never live long if he avoids battle; and old age does not grant him peace, though spears spare him.
The first line states that a wise man, often interpreted as a courageous warrior, is not expected to live a long life if he avoids engaging in battles or conflicts. This suggests that actively avoiding combat may be seen as cowardly or dishonorable, and that a person's bravery and willingness to fight contribute to their reputation and longevity.
The second line indicates that old age does not necessarily bring peace or tranquility to such a wise man. Despite his advancing years, he may still face challenges, dangers, or conflicts that prevent him from enjoying a peaceful and secure existence.
The third line emphasizes that even if a wise man is spared physical harm in battle, old age itself does not guarantee him peace. It implies that the challenges and struggles of life continue to affect him, regardless of whether he actively participates in warfare or not. The mention of "geirar," which means spears or weapons, serves as a symbol of conflict and danger.
Overall, this stanza conveys the idea that a wise and courageous person may not necessarily have a long life or find peace in old age. It suggests that engaging in battle or conflict, while risky, is seen as an integral part of a warrior's existence. It implies that one's reputation and ability to face challenges with bravery may have greater significance than the mere passage of time or the absence of physical harm.
17
Kópir afglapi er til kynnis kemr,
þylsk hann um eða þrumir;
allt er senn, ef hann sylg um getr,
uppi er þá geð guma
The fool who enters into company becomes quiet or babbles; everything happens at once if he gets drunk, then the mind of men is revealed.
The first line describes a "Kópir afglapi," which can be interpreted as a fool or a simpleton. This person enters into company or social gatherings.
The second line presents two possible behaviors of the fool when in company. The first option is that he becomes quiet, suggesting that he may lack social skills or conversational abilities. The second option is that he babbles, implying that he talks excessively or nonsensically.
The third line suggests that if the fool becomes drunk, everything happens at once. This can be understood as a reference to the fool's lack of self-control when under the influence of alcohol. The use of the phrase "sylg um getr" implies that the fool drinks excessively or swallows down alcohol without restraint.
The final line states that when the fool gets drunk, the mind of men is revealed. This can be understood as a commentary on how alcohol can remove inhibitions and reveal one's true character. In the case of the fool, it suggests that his lack of wisdom or foolishness becomes apparent to others when he is intoxicated.
Overall, this stanza highlights the behavior and consequences of a fool in social settings. It emphasizes how the fool's actions and demeanor can change depending on the circumstances, such as becoming quiet or talkative. It also suggests that excessive drinking can further amplify the foolishness and lack of self-control. The stanza serves as a cautionary reminder about the effects of alcohol and the potential for one's true character to be revealed in social situations.
18
Sá einn veit er víða ratar
ok hefr fjölð um farit,
hverju geði stýrir gumna hverr,
sá er vitandi er vits.
Only one knows who wanders widely and has traveled extensively, how to guide the mind of each man, he who is wise in understanding.
The first line states that there is only one individual who possesses knowledge or understanding. This person is described as someone who wanders widely and has traveled extensively, suggesting that they have gained knowledge and experience through their journeys.
The second line emphasizes the breadth of their travels and the extensive range of their experiences. It implies that their knowledge comes from encountering diverse situations, people, and places.
The third line states that this knowledgeable individual knows how to guide the mind of each person. This suggests that they possess wisdom and insight into the workings of the human mind and can provide guidance or direction to others.
The final line describes this person as wise in understanding or "vits." This highlights their intellectual acumen and their ability to comprehend and make sense of things.
Overall, this stanza highlights the rarity and significance of a wise and knowledgeable individual who possesses understanding. It suggests that their wisdom comes from their extensive travels and experiences, allowing them to guide and influence the minds of others. The stanza emphasizes the value of such wisdom and implies that this person is exceptional in their ability to comprehend and navigate the complexities of the human mind and existence.
19
Haldit maðr á keri, drekki þó at hófi mjöð,
mæli þarft eða þegi,
ókynnis þess vár þik engi maðr
at þú gangir snemma at sofa.
A man should hold his drink in a cup, yet drink mead moderately, speak when necessary or remain silent, no man will find fault with you for that, that you go to sleep early.
The first line advises that a man should hold his drink in a cup, suggesting that one should drink in a controlled and measured manner. This can be interpreted as a recommendation for moderation and avoiding excessive consumption.
The second line specifically mentions mead, an alcoholic beverage made from fermented honey, indicating that the advice pertains to drinking mead in particular.
The third line offers guidance on speech. It suggests that one should speak only when necessary or remain silent, indicating the importance of thoughtful and purposeful communication. This can be seen as a reminder to choose words wisely and avoid unnecessary or inappropriate speech.
The fourth line asserts that no one will find fault with the person who follows this advice. By drinking moderately and speaking with purpose, the individual is likely to be regarded favorably by others.
The final line states that going to sleep early is not something for which anyone will criticize the person. This may be understood as a suggestion to maintain a healthy lifestyle and prioritize rest, highlighting the importance of getting sufficient sleep.
Overall, this stanza provides guidance on social behavior and self-discipline. It advises moderation in drinking, thoughtful speech, and adequate rest. By following these suggestions, one is likely to be well-regarded by others and maintain a balanced and healthy lifestyle.
20
Gráðugr halr, nema geðs viti,
etr sér aldrtrega;
oft fær hlægis, er með horskum kemr
manni heimskum magi.
A greedy man, unless he possesses understanding, eats himself into old age; often laughter is gained when a wise one comes to a foolish man's belly.
The first line describes a "Gráðugr halr," which can be understood as a greedy or gluttonous man. It suggests that this person has an excessive desire for food or possessions.
The second line states that unless this greedy man possesses understanding or wisdom, he will eat himself into old age. This implies that his excessive indulgence will lead to negative consequences and potentially shorten his lifespan.
The third line suggests that when a wise person comes into the company of a foolish man, laughter often ensues. This laughter can be interpreted as a form of amusement or mockery directed towards the foolish man's gluttonous behavior. It implies that the wise person's presence highlights the absurdity or foolishness of the greedy individual's actions.
The stanza as a whole conveys a cautionary message about the dangers of greed and gluttony. It suggests that unless a greedy person possesses wisdom or understanding, their excessive desires can lead to negative consequences, including physical and potentially social or emotional harm. It also emphasizes the potential for ridicule or laughter at the expense of such individuals when confronted by those who possess greater wisdom.
21
Hjarðir þat vitu nær þær heim skulu
ok ganga þá af grasi;
en ósviðr maðr kann ævagi
síns um mál maga.
The herds know it when they are about to return home and then leave the grass; but a foolish man never understands his own belly's matters.
The first line refers to herds, indicating that animals, such as sheep or cattle, have an instinctual understanding of when they should return home. They are aware of the approaching time to leave the grazing area and make their way back.
The second line suggests that these herds leave the grass or grazing area when it is time for them to return home. This can be seen as an example of the animals' natural instincts and their ability to recognize the appropriate time for certain actions.
The third line contrasts the behavior of the herds with that of a foolish man. It states that a foolish man never understands the matters or needs of his own belly. This implies that the foolish man lacks self-awareness and fails to recognize or attend to his own bodily needs, such as hunger or satiety.
Overall, this stanza emphasizes the contrast between instinctual behavior and the lack of understanding exhibited by a foolish man. While animals, represented by the herds, possess natural instincts that guide their actions, the foolish man is portrayed as lacking such instincts and being disconnected from his own bodily needs. The stanza serves as a reminder of the importance of self-awareness and understanding one's own needs in contrast to the innate knowledge exhibited by the natural world.
22
Vesall maðr ok illa skapi
hlær at hvívetna;
hittki hann veit, er hann vita þyrfti
at hann era vamma vanr
The wretched man with a bad disposition laughs at everything; he knows not what he should know that he himself is lacking in flaws.
The first line describes a "vesall maðr," which can be understood as a wretched or unfortunate man. This person is characterized as having an ill or bad disposition, suggesting a negative attitude or temperament.
The second line states that this wretched man laughs at everything. It implies that he finds amusement or mockery in various situations or subjects, regardless of their nature.
The third line suggests that this man does not possess the knowledge or understanding that he should have. There are things he ought to know, but he lacks that awareness or insight.
The final line states that he is unaware that he himself is lacking in flaws. This implies that the wretched man fails to recognize his own shortcomings or faults. Despite his laughter and negative attitude towards others, he remains unaware of his own imperfections.
Overall, this stanza presents a critique of a person with a negative disposition and a tendency to mock or ridicule others. It highlights the irony of such an individual lacking self-awareness and failing to recognize their own flaws. The stanza serves as a reminder of the importance of self-reflection and humility, suggesting that one should not be quick to judge or mock others without acknowledging one's own imperfections.
23
Ósviðr maðr vakir um allar nætr
ok hyggr at hvívetna;
þá er móðr er at morgni kemr,
allt er víl sem var.
The foolish man stays awake all night and thinks about everything; then when he is weary in the morning, everything is as it was.
The first line describes an "ósviðr maðr," which can be understood as a foolish or unwise man. It states that this person stays awake throughout the night, suggesting restlessness or an inability to find peace.
The second line indicates that the foolish man's mind is occupied with various thoughts or concerns. He thinks about everything, implying a lack of focus or inability to prioritize his thoughts.
The third line states that when morning comes and the foolish man becomes weary, everything remains as it was. This suggests that despite his restless thinking and contemplation, no meaningful changes or solutions are achieved. The implication is that his mental activity has been in vain, without productive results.
Overall, this stanza criticizes the behavior of a foolish man who stays awake all night, engaging in aimless and unproductive thinking. It emphasizes the futility of such behavior, as it does not lead to any meaningful outcomes or resolutions. The stanza serves as a reminder of the importance of wise and purposeful thinking, highlighting the need for focus and effective decision-making rather than being consumed by restless contemplation.
24
Ósnotr maðr hyggr sér alla vera
viðhlæjendr vini.
Hittki hann fiðr, þótt þeir um hann fár lesi,
ef hann með snotrum sitr.
The foolish man thinks that he is always esteemed by his laughing companions. He finds no favor, even if they speak few words about him, if he sits among the wise.
The first line describes an "ósnotr maðr," which can be understood as a foolish or unintelligent man. It states that this person believes that he is always esteemed or respected by those who laugh with him. The implication is that the foolish man mistakes laughter for admiration or approval, assuming that his companions' laughter is a sign of their high regard for him.
The second line suggests that the foolish man does not receive any favor or genuine regard from others, even if they speak few words about him. This implies that his companions may speak negatively or dismissively about him behind his back, despite the appearances of laughter and camaraderie.
The third line emphasizes that even if they speak poorly of him, the foolish man remains unaware of it as long as he sits among the wise. This implies that the company of wise individuals exposes the foolish man's shortcomings or lack of intelligence, making him unable to deceive himself into thinking that he is highly regarded.
Overall, this stanza conveys a cautionary message about the folly of a person who mistakes laughter and shallow companionship for genuine esteem or respect. It highlights the importance of seeking genuine connections and surrounding oneself with wise individuals who can provide valuable insights and feedback. The stanza serves as a reminder to not be deceived by superficial appearances and to value the company of those who offer meaningful guidance and understanding.
25
Ósnotr maðr hyggr sér alla vera
viðhlæjendr vini;
þá þat finnr er at þingi kemr,
at hann á formælendr fáa.
The foolish man thinks that he is esteemed by everyone his laughing companions as friends; but when he comes to the assembly, he finds that he has few advocates.
The first line describes an "ósnotr maðr," which can be understood as a foolish or unintelligent man. It states that this person believes that he is esteemed by everyone, considering himself to be highly regarded by all. However, this perception is based on his companions who laugh with him, but it does not necessarily reflect the true sentiment of others.
The second line suggests that the foolish man considers his laughing companions to be his friends. He believes that their laughter is an indication of their friendship and regard for him. However, this may be a shallow or superficial form of companionship.
The third line introduces a shift in the situation. It states that when the foolish man comes to the assembly or gathering, he realizes that he has few advocates or supporters. This implies that his perceived esteem and popularity among his laughing companions do not translate to broader recognition or support when faced with a more significant gathering or community.
Overall, this stanza cautions against the false perception of esteem held by a foolish man. It highlights the importance of discerning genuine friendship and recognition from shallow or insincere companionship. The stanza suggests that true support and advocacy are not easily acquired, and they require qualities beyond mere laughter and superficial interactions. It serves as a reminder to seek meaningful connections and to be aware of the difference between true friendship and empty flattery.
26
Ósnotr maðr þykkisk allt vita,
ef hann á sér í vá veru;
hittki hann veit, hvat hann skal við kveða,
ef hans freista firar.
The foolish man thinks he knows everything if he is in a place of difficulties; he knows not what he should answer if men test him.
The first line describes an "ósnotr maðr," which can be understood as a foolish or unintelligent man. It states that this person believes he knows everything, exhibiting overconfidence in his knowledge and understanding. However, his perceived knowledge is based on his own limited perspective and lacks true wisdom.
The second line suggests that this sense of unwarranted confidence arises when the foolish man finds himself in challenging or difficult situations. It implies that he mistakenly interprets the hardships he faces as evidence of his wisdom, assuming that his ability to navigate through difficulties indicates comprehensive knowledge.
The third line highlights the actual lack of knowledge possessed by the foolish man. Despite his self-proclaimed wisdom, he does not know how to respond or what to say when others test or challenge him. This implies that his knowledge is superficial or inadequate, and he is unable to provide meaningful answers or insights when confronted with inquiries or scrutiny.
Overall, this stanza emphasizes the dangers of intellectual arrogance and the importance of humility in the pursuit of knowledge. It warns against assuming knowledge based on limited experiences and challenges the notion that difficult situations inherently indicate wisdom. The stanza serves as a reminder that true wisdom involves recognizing the extent of one's knowledge and remaining open to continuous learning and growth.
27
Ósnotr maðr er með aldir kemr,
þat er bazt, at hann þegi;
engi þat veit, at hann ekki kann,
nema hann mæli til margt.
The foolish man who comes among people, it is best that he stays silent; no one knows that he knows nothing, unless he speaks too much.
The first line describes an "ósnotr maðr," which can be understood as a foolish or unintelligent man. It states that when such a person enters a group or social setting ("með aldir kemr"), it is advisable for him to remain silent ("þat er bazt, at hann þegi"). The stanza suggests that by keeping quiet, the foolish man can avoid drawing attention to his lack of knowledge or understanding.
The second line highlights the irony of the situation. It states that no one realizes that the foolish man knows nothing ("engi þat veit, at hann ekki kann") unless he speaks too much ("nema hann mæli til margt"). By talking excessively and revealing his ignorance, the foolish man exposes his lack of knowledge to others.
Overall, this stanza emphasizes the value of silence and restraint for a foolish man in social settings. It suggests that by refraining from speaking and instead listening and observing, he can avoid revealing his lack of understanding. It serves as a cautionary reminder that excessive talking without genuine knowledge or insight can lead to embarrassment or ridicule. The stanza highlights the importance of humility and thoughtful communication, encouraging individuals to consider their words carefully and to recognize the limits of their own knowledge.
28
Fróðr sá þykkisk, er fregna kann
ok segja it sama,
eyvitu leyna megu ýta synir,
því er gengr um guma.
The wise one thinks that he knows, and can answer the same thing, but the sons of men can conceal nothing when they go among people.
The first line describes a "fróðr" person, meaning a wise or knowledgeable individual. It states that this person believes they have understanding and the ability to answer questions and inquiries ("fregna kann" and "segja it sama"). They are confident in their knowledge and assume they possess the answers.
The second line highlights a contrast between the wise person's perception of their own knowledge and the reality of human interactions. It suggests that while the wise person may think they know everything and can provide consistent answers, the sons of men (referring to ordinary people) cannot conceal anything ("eyvitu leyna"). In other words, ordinary people cannot hide their lack of knowledge or true understanding when engaging with others.
The third line reinforces the idea that people cannot conceal their lack of knowledge when they interact with others ("því er gengr um guma"). It implies that when individuals engage in conversations or social interactions, their true level of understanding or ignorance becomes apparent to those around them.
Overall, this stanza emphasizes the limitations of human knowledge and the fallibility of assuming one's own wisdom. It suggests that even the wise should remain open to learning and acknowledge that others may have valuable insights to offer. It serves as a reminder to approach interactions with humility and recognize the inherent limits of individual knowledge.
29
Ærna mælir, sá er æva þegir,
staðlausu stafi;
hraðmælt tunga,nema haldendur eigi,
oft sér ógótt um gelr.
The one who never keeps silent, with unstable words; a quick-speaking tongue, unless held back, often brings about ungoodness for oneself.
The first line describes a person who never keeps silent ("Ærna mælir") and constantly speaks. This individual does not withhold their words and has a tendency to express their thoughts and opinions freely.
The second line refers to the nature of their speech. It characterizes their words as unstable or lacking stability ("staðlausu stafi"). This could mean that their words are inconsistent, unreliable, or lacking a firm foundation. They may not carefully consider the consequences of their speech or the accuracy of their statements.
The third line emphasizes the quickness of their tongue ("hraðmælt tunga"). They speak rapidly and without hesitation, often without considering the potential repercussions of their words. However, the line also suggests that if someone or something restrains or holds them back ("nema haldendur eigi"), they may exercise more caution in their speech.
The final line warns that this excessive and uncontrolled speech can often lead to negative outcomes or consequences ("oft sér ógótt um gelr"). The person may unintentionally cause harm, misunderstandings, or conflicts due to their thoughtless or impulsive words.
Overall, this stanza serves as a cautionary reminder about the importance of thoughtful and restrained speech. It suggests that excessive and uncontrolled talking, without considering the consequences or accuracy of one's words, can lead to unfavorable outcomes. It highlights the need for individuals to exercise caution and self-control in their communication, recognizing the power and impact of their words.
30
At augabragði skala maðr annan hafa,
þótt til kynnis komi;
margr þá fróðr þykkisk, ef hann freginn erat
ok nái hann þurrfjallr þruma
In one's facial expressions, a person should have another, even when they meet for the first time; many then appear wise if they are not asked and possess a dry-mountain's thunder.
The first line states that in one's facial expressions or countenance ("augabragði"), a person should display something different or distinct ("skala maðr annan hafa"). This suggests that individuals should not reveal their true thoughts and feelings immediately, even when they meet someone for the first time.
The second line expresses that when people meet for the first time, it is common for many to appear wise or knowledgeable ("margr þá fróðr þykkisk"). This impression is based on the assumption that if someone is not asked specific questions ("ef hann freginn erat"), they can maintain an air of wisdom or intelligence.
The third line introduces the metaphor of a "dry-mountain's thunder" ("þurrfjallr þruma"). This can be interpreted as a symbol of an authoritative or impressive-sounding speech. It suggests that someone who possesses such rhetorical skills can create the impression of being wise or knowledgeable, even if they are not genuinely well-informed.
Overall, this stanza explores the idea of creating a favorable impression through one's facial expressions, speech, and the selective sharing of knowledge. It suggests that people can appear wise by controlling their expressions and speaking in a way that gives the impression of knowledge, even if they may not possess it. The stanza encourages individuals to be mindful of the image they project and highlights the influence of non-verbal cues and carefully crafted speech in shaping others' perceptions.
31
Fróðr þykkisk, sá er flótta tekr,
gestr at gest hæðinn;
veita görla sá er um verði glissir,
þótt hann með grömum glami
The one who takes flight considers himself wise, a guest elevated among guests; he will completely offer help to the one in need, even if he grumbles with anger.
The first line states that someone who takes flight or retreats in a challenging situation ("Fróðr þykkisk, sá er flótta tekr") considers themselves wise or clever. This individual believes that avoiding conflict or difficult circumstances demonstrates their intelligence.
The second line describes this person as a guest who elevates themselves among other guests ("gestr at gest hæðinn"). It suggests that they may perceive themselves as superior or more important in social situations.
The third line conveys that this person is willing to offer complete assistance or help to someone in need ("veita görla sá er um verði glissir"). They may genuinely help despite expressing frustration or annoyance ("þótt hann með grömum glami").
Overall, this stanza highlights a somewhat ironic situation. The person who considers themselves wise is portrayed as someone who avoids confrontations and presents themselves as important among others. However, despite their initial reluctance, they are willing to provide assistance when needed, even if they express some grumbling or annoyance. It serves as a reminder that true wisdom involves both the ability to navigate conflicts wisely and to extend help to others when necessary, even if it may challenge one's comfort or preconceived notions.
32
Gumnar margir erusk gagnhollir
en at virði vrekask;
aldar róg þat mun æ vera,
órir gestr við gest.
Many men are mutually helpful and do not harm each other; that contention between people will always be, causing harm.
The first line states that there are many men who are mutually helpful and supportive of each other ("Gumnar margir erusk gagnhollir"). They assist one another and engage in positive interactions.
The second line emphasizes that these men do not cause harm or act in a way that diminishes the worth of others ("en at virði vrekask"). They prioritize cooperation and harmony rather than engaging in destructive behavior.
The third line reflects on the inevitable existence of contention or conflict among people ("aldar róg þat mun æ vera"). It suggests that despite the presence of helpful and cooperative individuals, disputes and disagreements are an inherent part of human life.
The final line states that such conflicts between people often result in harm or negative consequences ("órir gestr við gest"). It acknowledges that even among well-intentioned individuals, disputes can arise, leading to unfavorable outcomes.
Overall, this stanza highlights the contrasting nature of human interactions. While many individuals are supportive and mutually beneficial to one another, conflicts and disputes are unavoidable and can lead to harm. It serves as a reminder of the complexity of human relationships and the importance of fostering understanding, cooperation, and resolution in order to minimize the negative consequences of conflicts.
33
Árliga verðar skyli maðr oft fáa,
nema til kynnis komi.
Sitr ok snópir, lætr sem sólginn sé
ok kann fregna at fáu.
A person should often acquire what is beneficial, unless they have come to know it. They remain silent and thoughtful, as if sunstruck, and can inquire about little.
The first line states that a person should frequently obtain what is beneficial or advantageous ("Árliga verðar skyli maðr oft fáa"). It suggests that one should actively seek out opportunities and resources that can improve their well-being or contribute to their success.
The second line introduces a condition: "unless they have come to know it" ("nema til kynnis komi"). This implies that acquiring beneficial things becomes unnecessary or less important if the person is already familiar with them or has already obtained them.
The third line describes the demeanor of the person in question. They are depicted as sitting and being thoughtful ("Sitr ok snópir"), resembling someone who has been struck by sunlight ("lætr sem sólginn sé"). This metaphor may imply a sense of enlightenment or a state of deep contemplation.
The final line suggests that despite their silence and introspection, they possess the ability to inquire and learn about small or insignificant matters ("ok kann fregna at fáu"). It implies that even when they appear quiet or reserved, they have a keen sense of observation and curiosity about the world around them.
Overall, this stanza encourages individuals to actively seek out beneficial opportunities and resources in life. It suggests that one should be attentive and thoughtful, observing their surroundings and taking action to acquire what is advantageous. However, if one has already gained knowledge or familiarity with a particular matter, the need for further acquisition may diminish. It emphasizes the importance of balance between actively pursuing growth and recognizing when one has reached a level of sufficient understanding or possession.
34
Afhvarf mikit er til ills vinar,
þótt á brautu búi,
en til góðs vinarliggja gagnvegir,
þótt hann sé firr farinn.
The departure is great when it comes to an evil friend, even if they live nearby, but the ways to a good friend lie close together, even if they are far away.
The first line states that the departure or separation from an evil friend is significant and consequential ("Afhvarf mikit er til ills vinar"). It suggests that parting ways with a harmful or negative companion is a significant event and can have far-reaching consequences.
The second line emphasizes that even if the evil friend resides in close proximity ("þótt á brautu búi"), the separation is still considered significant. This implies that physical distance alone does not negate the negative influence or harm caused by an unhealthy friendship.
The third line highlights the contrasting situation when it comes to a good friend. It states that the paths or ways leading to a good friend are interconnected and mutually beneficial ("en til góðs vinarliggja gagnvegir"). Even if a good friend is physically distant or far away ("þótt hann sé firr farinn"), the connection and positive influence between them remain strong.
Overall, this stanza underscores the importance of choosing one's friends wisely and recognizing the impact they can have on our lives. It suggests that separating from an evil friend, regardless of their physical proximity, is a significant and necessary step for personal well-being. On the other hand, the stanza emphasizes that the bonds of a genuine and positive friendship remain strong, even if distance separates the individuals involved. It encourages cultivating and maintaining healthy relationships based on mutual support and benefit.
35
Ganga skal, skala gestr vera
ey í einum stað;
ljúfur verðr leiðr, ef lengi sitr
annars fletjum á.
One should walk; a guest should not remain in one place for too long; the sweet becomes tedious if one sits in another's seat for too long.
The first line states that one should walk or move around ("Ganga skal"). It implies that it is not desirable to stay in one place or become stagnant for an extended period.
The second line emphasizes that as a guest, one should not overstay their welcome or remain in one place for too long ("skala gestr vera / ey í einum stað"). It suggests that being a good guest involves not imposing on one's host by prolonging one's stay excessively.
The third line describes the consequence of overstaying or sitting for an extended period in another person's seat. It states that something pleasant or enjoyable can become tedious or wearisome ("ljúfur verðr leiðr") if one remains in it for too long.
Overall, this stanza conveys the importance of movement, both physically and metaphorically. It suggests that it is natural and appropriate to keep moving, exploring, and not overstaying in one place or situation. It cautions against becoming too comfortable or complacent in someone else's space or position. By encouraging movement and avoiding overstay, the stanza promotes a sense of respect, balance, and adaptability in social interactions and relationships.
36
Bú er betra, þótt lítit sé,
halr er heima hverr;
þótt tvær geitr eigi ok taugreftan sal,
þat er þó betra en bæn.
A house is better, even if small, for every man at home; even though one has only two goats and a straw-thatched hut, it is still better than begging.
The first line states that a house, even if it is small ("Bú er betra, þótt lítit sé"), is preferable. It implies that having a place to call home, regardless of its size or modesty, is of greater value and significance.
The second line highlights the importance of being settled in one's own home ("halr er heima hverr"). It suggests that having a sense of belonging and stability is valuable for every individual.
The third line presents a contrast between two goats and a straw-thatched hut ("þótt tvær geitr eigi ok taugreftan sal"). These simple possessions symbolize a humble and basic lifestyle. Despite having limited material possessions, the stanza states that it is still better than resorting to begging for sustenance or shelter ("þat er þó betra en bæn").
Overall, this stanza conveys the idea that having a home, no matter how modest, provides a sense of security, independence, and self-sufficiency. It emphasizes the value of personal dignity and self-reliance over relying on others for basic needs. It promotes the idea that even a small, self-sustaining living arrangement is preferable to a state of dependency and seeking assistance from others.
37
Bú er betra, þótt lítit sé,
halr er heima hverr;
blóðugt er hjarta þeim er biðja skal
sér í mál hvert matar.
A house is better, even if small, for every man at home; bloody is the heart of the one who must beg for every bite of food.
The first two lines reiterate the sentiment expressed in the previous stanza that having a home, regardless of its size, is preferable ("Bú er betra, þótt lítit sé, halr er heima hverr"). It emphasizes that every person should have a place to call home, underscoring the importance of stability and a sense of belonging.
The third and fourth lines introduce a metaphorical statement ("blóðugt er hjarta") that conveys the hardship and desperation of those who must beg for their sustenance. It likens the heart of such a person to being "bloody," signifying the pain, struggle, and humiliation they experience. The stanza highlights the difficulty and degrading nature of relying on others for every bite of food ("þeim er biðja skal sér í mál hvert matar").
Overall, this stanza further reinforces the idea that having a home and being self-sufficient is preferable to a state of dependency. It portrays the act of begging for food as a desperate and emotionally draining experience, emphasizing the inherent dignity and self-respect in providing for oneself. The stanza serves as a reminder of the value of independence and the hardships faced by those who lack it.
38
Vápnum sínum skala maðr velli á
feti ganga framar,
því at óvíst er at vita nær verðr á vegum úti
geirs um þörf guma.
With his weapons, a man should proceed on the open field, for it is uncertain when he will need his spear on the path outside.
The first two lines convey the importance of being prepared and vigilant. It states that a person should carry their weapons ("vápnum sínum") and walk confidently ("feti ganga framar") on the open field ("velli á"). This suggests the need to be ready for any potential dangers or threats that may arise.
The third and fourth lines highlight the unpredictability of when such dangers may occur. It emphasizes that it is uncertain ("óvíst er") to know when one may require their spear ("geirs um þörf") while traveling on the paths outside ("á vegum úti"). This serves as a reminder to always be prepared and cautious, as one never knows when they may encounter a situation where their weapon is needed for self-defense or protection.
Overall, the stanza emphasizes the importance of being armed and prepared for potential dangers that may arise while traveling or navigating unfamiliar territories. It reflects a mindset of self-preservation and readiness, encouraging individuals to be proactive in their own protection.
39
Fannka ek mildan mann eða svá matar góðan,
at værit þiggja þegit,
eða síns féar svági [glöggvan],.
at leið sé laun, ef þægi.
I never found a generous man or one so hospitable that he refused a gift or offered meal. No man holds onto his possessions so tightly that he doesn't desire a reward, if he receives it.
This stanza emphasizes the importance of generosity and hospitality. It states that the speaker has never encountered a person who refused to accept a gift or a good meal. It implies that generosity is a highly valued trait, as people are generally willing to receive and appreciate acts of kindness and generosity from others. It also suggests that even those who possess wealth or material possessions still desire some form of reciprocation or appreciation in return. The stanza serves as a reminder to be generous and open-hearted, as it creates positive social bonds and fosters goodwill among people.
40
Féar síns er fengit hefr
skylit maðr þörf þola;
oft sparir leiðum þats hefr ljúfum hugat;
margt gengr verr en varir.
One should not suffer a need for one's own property, A person should not endure deprivation; Often, it is wise to save the things one has acquired, Many things go worse than one's expectations.
This stanza from the Eddas, specifically from Hávamál, offers wisdom regarding the management of one's possessions and the potential pitfalls of certain actions. It advises against enduring unnecessary need or deprivation when one has the means to avoid it. The stanza suggests that it is prudent to take care of one's own needs and not subject oneself to unnecessary hardships.
Additionally, the stanza highlights the importance of wise decision-making and considering the potential consequences of one's actions. It emphasizes that sometimes it is better to save and hold onto what one has acquired rather than risking it and potentially facing worse outcomes. The stanza serves as a reminder to exercise caution and foresight in managing one's resources and making choices, as the consequences of actions can often be worse than anticipated.
41
Vápnum ok váðum skulu vinir gleðjask;
þat er á sjálfum sýnst;
viðurgefendr ok endrgefendr erusk lengst vinir,
ef þat bíðr at verða vel.
With weapons and garments, friends should delight; That is evident in themselves; Those who forgive and reconcile are the longest-lasting friends, If it waits to turn out well.
This stanza from the Eddas highlights the importance of friendship and the qualities that contribute to long-lasting relationships. It suggests that friends should find joy and satisfaction in sharing weapons and garments, which can symbolize both protection and material possessions.
The stanza emphasizes the value of forgiveness and reconciliation in friendship. Those who are willing to forgive and mend relationships are described as the truest and longest-lasting friends. The ability to let go of past grievances and reconcile differences is considered crucial for the strength and endurance of a friendship.
The final line suggests that the true test of friendship lies in how well it stands the test of time. If the friendship can withstand challenges and obstacles and ultimately turn out well, then it is considered valuable and enduring. This stanza serves as a reminder of the importance of forgiveness, reconciliation, and mutual support in maintaining strong and lasting friendships.
42
Vin sínum skal maðr vinr vera
ok gjalda gjöf við gjöf;
hlátr við hlátri skyli hölðar taka
en lausung við lygi.
To his friend, a man should be a friend and repay gift with a gift; laughter with laughter, men should receive, but lies with a lie.
This stanza from the Eddas emphasizes the principles of reciprocity and sincerity in friendship. It states that a person should act as a friend to their friend and reciprocate acts of kindness and generosity. When a friend gives a gift, it is expected that the recipient will respond with a gift of their own.
Furthermore, the stanza highlights the importance of genuine and honest interactions between friends. Laughter should be met with laughter, indicating the mutual enjoyment and shared sense of humor that strengthens friendships. On the other hand, lies should be met with lies, suggesting that honesty and truthfulness are essential in maintaining trustworthy relationships.
Overall, this stanza emphasizes the values of reciprocity, sincerity, and honesty in friendships. It encourages individuals to treat their friends with kindness, repay their gestures, and foster a genuine and open communication with them.
43
Vin sínum skal maðr vinr vera,
þeim ok þess vin;
en óvinar síns skyli engi maðr
vinar vinr vera.
To his friend, a man should be a friend, to them and their friends; but no man should be a friend of his enemy's friend.
This stanza from the Eddas emphasizes the importance of loyalty and choosing one's friends wisely. It states that a person should be a friend to their friend, as well as to the friends of their friend. This highlights the idea of extending friendship beyond individual relationships and embracing a wider circle of friends.
However, the stanza also highlights the notion that one should not be a friend of their enemy's friend. This implies that loyalty and allegiance should not be given to those who are hostile or opposed to one's own friends. It suggests that maintaining loyalty and trustworthiness is essential in maintaining genuine and meaningful friendships.
In summary, this stanza emphasizes the value of true friendship and loyalty. It encourages individuals to be supportive and loyal to their friends, extending their kindness and friendship to their friends' circle as well. At the same time, it cautions against associating with those who are enemies or antagonistic towards one's own friends, emphasizing the importance of remaining true and loyal to one's own friendships.
44
Veiztu, ef þú vin átt, þann er þú vel trúir,
ok vilt þú af hánum gótt geta,
geði skaltu við þann blanda ok gjöfum skipta,
fara at finna oft.
Do you know, if you have a friend whom you truly trust, and you want to speak well of him, you should mingle your mind with his and exchange gifts with him, travel to meet him often.
This stanza from the Eddas emphasizes the qualities and actions necessary to maintain a strong and meaningful friendship. It suggests that if you have a friend whom you trust deeply and with whom you want to maintain a positive relationship, you should actively engage with them on various levels.
The stanza advises mingling your mind with your friend's, which implies understanding their thoughts, perspectives, and emotions. This suggests empathy and mutual understanding as important aspects of a strong friendship. Additionally, the stanza encourages the exchange of gifts, which can be seen as acts of kindness, generosity, and reciprocity. This emphasizes the importance of giving and receiving in nurturing a friendship.
Furthermore, the stanza highlights the significance of actively seeking out your friend. It suggests making an effort to meet them regularly, implying that a friendship requires regular interaction and communication to thrive.
Overall, the stanza encourages genuine trust, understanding, reciprocity, and active engagement in order to cultivate and maintain a meaningful friendship. It emphasizes the importance of investing time and effort in nurturing the bond with a trusted friend.
45
Ef þú átt annan, þanns þú illa trúir,
vildu af hánum þó gótt geta,
fagrt skaltu við þann mæla en flátt hyggja
ok gjalda lausung við lygi.
If you have another person whom you trust poorly, yet you still want to speak well of him, you should speak fair to him but think cunningly and repay falsehood with falsehood.
This stanza from the Eddas addresses the complex situation of having a person in your life whom you do not trust fully but still wish to maintain a positive relationship with. It provides guidance on how to navigate such a relationship.
The stanza advises speaking fair or kindly to this person, despite your lack of trust. This suggests maintaining a civil and respectful demeanor in your interactions. However, it also advises thinking cunningly or being cautious and guarded in your thoughts and actions. This implies that while you may present a pleasant facade, you should remain vigilant and protect yourself from potential harm or deception.
Additionally, the stanza suggests repaying falsehood with falsehood. This can be interpreted as responding to any dishonesty or deceit from the other person with a similar approach. It implies a form of self-defense or self-protection in dealing with someone whom you trust poorly.
Overall, the stanza acknowledges the complexities of relationships and offers guidance for managing a situation where trust is lacking. It encourages maintaining a polite and guarded approach while being aware of potential deception and protecting oneself in such a relationship.
46
Það er enn of þann er þú illa trúir
ok þér er grunr at hans geði:
hlæja skaltu við þeim ok um hug mæla;
glík skulu gjöld gjöfum.
There is yet another person whom you trust poorly and have suspicions about his character: you should laugh with him and speak cunningly in your mind; similar should be the repayment for his gifts.
This stanza from the Eddas addresses the situation of having another person in your life whom you do not trust and have doubts about their character. It provides advice on how to interact with such an individual.
The stanza suggests two approaches to dealing with this person. Firstly, it advises laughing with them. This can be seen as a way to maintain a cordial and amicable atmosphere despite the lack of trust. It implies not letting their presence affect your own mood or demeanor negatively.
Secondly, the stanza advises speaking cunningly in your mind. This suggests being cautious and strategic in your thoughts and evaluations of the person. It implies being aware of potential ulterior motives or deceptive behavior and thinking carefully about your responses and actions.
Lastly, the stanza mentions the repayment for his gifts. This can be interpreted as reciprocating in a similar manner to the person's actions or gifts. It suggests a form of reciprocity where you respond to their actions with a similar approach.
Overall, the stanza acknowledges the existence of a person whom you trust poorly and offers advice on how to navigate interactions with them. It emphasizes maintaining a pleasant outward demeanor while being cautious in your thoughts and responses, and responding in kind to their actions.
47
Ungr var ek forðum, fór ek einn saman:
þá varð ek villr vega;
auðigr þóttumk, er ek annan fann;
Maðr er manns gaman.
I was once young, I traveled alone: then I became lost on the way; I thought myself wealthy when I found another; Man is the joy of man.
This stanza from the Eddas reflects on the experiences of the speaker during their youth. It highlights the themes of companionship, guidance, and the value of human connection.
The first two lines describe the speaker's past, where they were young and traveled alone. It conveys a sense of vulnerability and uncertainty during this period of their life. The phrase "þá varð ek villr vega" indicates that they became lost or confused on their journey, metaphorically representing the challenges and difficulties faced during this time.
In the third line, the speaker expresses their feeling of wealth or fortune when they encountered another person. This encounter brought them companionship and a sense of connection, emphasizing the importance of human relationships in their life. The line "Maðr er manns gaman" encapsulates the central message of the stanza, stating that humans bring joy and fulfillment to one another.
Overall, this stanza reflects on the speaker's experiences as a young individual, highlighting the challenges of solitude and the significance of encountering and connecting with others. It emphasizes the value of human companionship and the positive impact it has on one's life.
48
Mildir, fræknir menn bazt lifa,
sjaldan sút ala;
en ósnjallr maðruggir hotvetna,
sýtir æ glöggr við gjöfum.
Mild, courageous men live the best, rarely experiencing sorrow; but the unwise man, troubled by worries, is rarely content with gifts.
This stanza from the Eddas contrasts the lives of different types of individuals based on their attitudes and behaviors. It highlights the virtues of being mild and courageous and the consequences of being unwise.
The first two lines praise mild (kind, gentle) and courageous individuals, suggesting that they live the best lives. These people are described as rarely experiencing sorrow or distress. This can be interpreted as a result of their positive outlook, resilience, and ability to navigate challenges with composure.
In contrast, the next two lines focus on the unwise person who is troubled by worries. This person is unable to find contentment or satisfaction, despite receiving gifts. The term "uggir hotvetna" suggests that they are filled with worries or anxieties, which prevents them from appreciating and enjoying the good things in life.
Overall, this stanza emphasizes the importance of having a mild and courageous disposition, as it leads to a more fulfilling and contented existence. It warns against the negative consequences of being unwise, which can result in perpetual dissatisfaction and an inability to find joy even in the presence of gifts or blessings.
49
Váðir mínar gaf ek velli at
tveim trémönnum;
rekkar þat þóttusk, er þeir rift höfðu;
neiss er nökkviðr halr.
I gave my garments on the field to two tree-men; the warriors thought it a wretched thing when they had ripped them apart; a naked man is chilled.
In this stanza, the speaker recounts an incident where they gave their garments to two individuals described as "tree-men." The exact nature of these tree-men is not specified in the stanza, leaving room for interpretation. They could be beings associated with trees or perhaps metaphorical representations of strong or rugged individuals.
The speaker emphasizes their act of generosity by stating that they gave their garments on the field, implying a selfless act performed in a challenging or significant context. However, the response of the warriors who received the garments is described as negative. They considered the act of tearing the garments apart as an unworthy or wretched thing to do. This reaction suggests a lack of appreciation or respect for the gesture of kindness.
The final line of the stanza provides a contrast. It states that a naked man is chilled, implying that the one who tears apart the garments will suffer the consequences of their actions. This line serves as a reminder that thoughtless or destructive behavior ultimately harms oneself.
Overall, this stanza highlights the themes of generosity, gratitude, and the consequences of one's actions. It suggests that acts of kindness should be appreciated and reciprocated, while destructive behavior leads to personal detriment.
50
Hrörnar þöll sú er stendr þorpi á,
hlýrat henni börkr né barr;
svá er maðr, sá er manngi ann.
Hvat skal hann lengi lifa?
The tree withers that stands in the village, its bark and branches do not protect it; so is a man who has no love. How can he live long?
In this stanza, a comparison is drawn between a withering tree and a person who lacks love or affection. The speaker describes a tree standing in a village that is withering away. The tree's condition is emphasized by stating that its bark and branches do not provide any protection or sustenance. This image of a dying tree serves as a metaphor for a person who is devoid of love or meaningful relationships.
The second half of the stanza poses a rhetorical question: "How can he live long?" This question implies that a person who lacks love and connections with others is unlikely to have a fulfilling or meaningful life. Love, in this context, encompasses not only romantic love but also friendship, familial bonds, and social connections.
The stanza highlights the importance of human relationships and emotional connections for a fulfilling existence. It suggests that without love and the support of others, a person's life may become empty, much like a withering tree.
51
Eldi heitari brennr með illum vinum
friðr fimm daga,
en þá slokknar er inn sétti kemr
ok versnar allr vinskapr.
A hotter fire burns with evil friends peace for five days, but then it goes out when the sixth arrives and all friendship turns to enmity.
This stanza depicts the transient nature of false or deceitful friendships. The speaker compares such friendships to a fire that burns intensely but only for a short period of time. The fire is described as "hotter" or more intense, implying that it may initially seem appealing or beneficial.
The stanza suggests that in the company of untrustworthy or malicious friends, there may be a temporary sense of peace or harmony ("peace for five days"). However, this peace is short-lived and fleeting. When the sixth day arrives, symbolizing the passage of time or a change in circumstances, the fire is extinguished, and all friendship turns to enmity.
The stanza serves as a cautionary reminder about the dangers of false friendships or alliances based on deceit or ill intentions. It highlights the importance of cultivating genuine and trustworthy relationships, as false friendships can quickly turn sour and lead to conflict or harm.
52
Mikit eitt skala manni gefa;
oft kaupir sér í litlu lof,
með halfum hleif ok með höllu keri
fékk ek mér félaga
One should give a great deal to a person; often one buys for oneself praise in a small measure, with half a loaf and a tilted cup I obtained myself a companion.
This stanza emphasizes the importance of generosity and giving in human relationships. It suggests that it is beneficial for individuals to be generous and willing to give to others. The phrase "Mikit eitt skala manni gefa" translates to "One should give a great deal to a person."
The stanza also mentions the concept of earning praise or acquiring positive reputation by giving. It states that one can earn praise, albeit in a small measure, by giving with seemingly modest resources. The image of offering "half a loaf and a tilted cup" symbolizes giving what one can, even if it is not extravagant or abundant.
In the last line, the speaker reveals that through their acts of giving, they were able to obtain a companion or a friend. This suggests that by being generous and giving, one can attract and build meaningful relationships with others.
Overall, the stanza highlights the value of generosity and its potential impact on building connections and fostering positive interactions with others. It encourages individuals to be generous, even if their resources may be limited, as acts of giving can lead to reciprocal relationships and social bonds.
53
Lítilla sanda lítilla sæva
lítil eru geð guma.
Því at allir menn urðut jafnspakir;
half er öld hvar.
Of little rivers, of little seas, little are the minds of men. For all men became equally wise; half the age of the world.
This stanza reflects on the limited nature of human knowledge and wisdom. It uses the metaphor of "little rivers" and "little seas" to represent the limited scope of human understanding. Just as small bodies of water cannot compare to vast oceans, the stanza suggests that the minds of humans are similarly small in comparison to the vastness of knowledge and wisdom in the world.
The stanza asserts that all humans have become equally wise, implying that no individual possesses superior knowledge or wisdom. It suggests that the potential for wisdom is equally distributed among all people, regardless of their backgrounds or circumstances.
The last line, "half the age of the world," is a metaphorical statement. It implies that human existence is relatively brief and limited in comparison to the age of the world. This further emphasizes the finite nature of human understanding and the vastness of knowledge that remains unknown.
Overall, the stanza conveys a sense of humility regarding human knowledge and wisdom. It reminds us that our understanding is limited and that there is much more to learn and discover. It encourages a modest and open-minded approach to knowledge, acknowledging that true wisdom comes from recognizing the vastness of what we do not know.
54
Meðalsnotr skyli manna hverr;
æva til snotr sé;
þeim er fyrða fegrst at lifa
er vel margt vitu.
Every man should be moderately wise; never too wise; for those are most beautiful in the eyes of men who know many things well.
This stanza emphasizes the importance of moderation and balanced wisdom. It suggests that it is desirable for every person to possess a moderate level of wisdom and knowledge. The term "meðalsnotr" can be translated as "moderately wise" or "wisely moderate," implying the ideal balance between knowledge and humility.
The stanza also advises against excessive wisdom. It states that one should never be "too wise," implying that an excess of knowledge or arrogance in one's wisdom can be undesirable. It suggests that wisdom should be tempered with humility and an understanding of one's limitations.
The last line of the stanza highlights the admiration people have for those who possess a diverse range of knowledge and skills. It suggests that individuals who are well-rounded and knowledgeable in various areas are esteemed and valued by others.
Overall, the stanza promotes the idea of balanced wisdom and encourages individuals to pursue knowledge without becoming overly proud or boastful. It reminds us of the importance of humility and the positive impact that a well-rounded understanding can have on our interactions with others.
55
Meðalsnotr skyli manna hverr;
æva til snotr sé,
því at snotrs manns hjarta verðr sjaldan glatt,
ef sá er alsnotr, er á.
Every man should be moderately wise; never too wise, for the heart of a wise man is seldom glad if he is excessively wise.
This stanza emphasizes the value of moderate wisdom and cautions against excessive wisdom or intelligence. It suggests that it is important for individuals to maintain a balance in their level of wisdom.
The term "meðalsnotr" again refers to being moderately wise or wisely moderate. It implies that one should possess a reasonable amount of wisdom, but not to the point of excess. The stanza suggests that being excessively wise can have negative consequences on one's well-being.
The second line highlights the idea that one should never strive to be "too wise." It implies that excessive wisdom can lead to a lack of joy or contentment in one's heart. The term "snotr" refers to wisdom, intelligence, or cleverness, and "glatt" means glad or happy. The stanza implies that an overly wise person may struggle to find joy or satisfaction due to the burdens and complexities of excessive wisdom.
In summary, the stanza advises individuals to aim for moderate wisdom rather than excessive wisdom. It suggests that excessive wisdom can lead to a lack of happiness or contentment. It emphasizes the importance of finding a balance in one's pursuit of knowledge and wisdom.
56
Meðalsnotr skyli manna hverr,
æva til snotr sé;
örlög sín viti engi fyrir,
þeim er sorgalausastr sefi.
Every man should be moderately wise, never too wise; no one knows his fate beforehand, those with the least sorrowful soul.
This stanza emphasizes the importance of moderate wisdom and highlights the uncertainty of one's fate.
The term "meðalsnotr" refers to being moderately wise or wisely moderate. It suggests that individuals should possess a reasonable amount of wisdom, but not be excessively wise. The stanza advises against pursuing extreme wisdom.
The second line states that one should never strive to be "too wise." It implies that excessive wisdom may not necessarily lead to favorable outcomes or a happier life.
The third line highlights the unpredictability of one's fate. The phrase "örlög sín" refers to one's destiny or fate, and the stanza suggests that no one can know their fate in advance. This implies that even the wisest individuals cannot fully predict or control their life's path or the events that will unfold.
The final line introduces the concept of a person with the "least sorrowful soul." It suggests that those who possess a more carefree or contented disposition are the ones who have the least worries or sorrows. This may imply that excessive wisdom can bring about greater sorrow or burdens, while a more moderate approach to wisdom allows for a more peaceful and joyful existence.
In summary, the stanza advises individuals to aim for moderate wisdom rather than excessive wisdom. It acknowledges the uncertainty of fate and suggests that a more carefree or contented soul is desirable. It underscores the importance of finding a balance in one's pursuit of wisdom and being open to the unpredictability of life.
57
Brandr af brandi brenn, unz brunninn er,
funi kveikisk af funa;
maðr af manni verðr at máli kuðr
en til dælskr af dul.
Fire from fire burns until it is consumed, flame ignites from flame; a man becomes known by his conversation with others, but a deceitful one becomes a companion to the devil.
This stanza uses metaphors related to fire and human interactions to convey deeper meanings about character and reputation.
The first two lines describe the nature of fire. "Brandr af brandi brenn" means that one fire burns from another fire until it is consumed. Similarly, "funi kveikisk af funa" means that a flame ignites from another flame. These lines suggest the continuous and interconnected nature of fire, where one fire can give birth to another.
In the following two lines, the metaphorical implications are drawn. "Maðr af manni verðr at máli kuðr" implies that a person becomes known or recognized through their conversation or interactions with others. It emphasizes the significance of one's words and behavior in shaping their reputation and how they are perceived by others. The stanza suggests that the way one communicates and interacts with others plays a crucial role in establishing their identity and reputation.
The final line, "en til dælskr af dul," contrasts the positive image of someone becoming known through honest and open communication with the negative portrayal of a deceitful person. "Dælskr" refers to a devil or a malicious entity, and "dul" means deceit or cunning. It implies that a deceitful person becomes a companion or ally of the devil, indicating the moral consequences of dishonesty and manipulative behavior.
In summary, the stanza uses the imagery of fire to convey the interconnectedness of human interactions and the impact of communication on reputation. It highlights the importance of honest and open communication for establishing a positive reputation while cautioning against deceit and its potential consequences.
58
Ár skal rísa sá er annars vill
fé eða fjör hafa;
sjaldan liggjandi ulfr lær um getr
né sofandi maðr sigr.
One must rise early if he wants to have another's wealth or life; seldom does a lying wolf find a limb to gnaw on, nor does a sleeping man achieve victory.
This stanza emphasizes the importance of proactivity and effort in achieving one's goals and desires.
The first line, "Ár skal rísa sá er annars vill," can be translated as "One must rise early if he wants another's." It suggests that in order to attain someone else's wealth or possessions (fé) or gain an advantage over them (fjör, which can also mean life or well-being), one must act proactively and make an effort. The word "ár" can be interpreted as "early" or "early in the morning," indicating the need for prompt action.
The second line, "sjaldan liggjandi ulfr lær um getr," metaphorically depicts a lying or idle wolf that fails to find a limb (lær) to gnaw on. This implies that those who are passive, lazy, or deceptive in their pursuits are unlikely to achieve their objectives. The image of the wolf emphasizes the idea that one must be active and resourceful to attain their goals.
The final line, "né sofandi maðr sigr," conveys a similar message. It states that a sleeping man (sofandi maðr) does not achieve victory (sigr). This line reinforces the theme of the previous lines, emphasizing that success and accomplishment require action and effort. It suggests that those who are passive, complacent, or inactive will not experience triumph or achieve their desired outcomes.
Overall, this stanza encourages individuals to be proactive, diligent, and determined in pursuing their goals. It warns against relying on deceit or idleness, emphasizing that true success and victory come to those who actively strive for them.
59
Ár skal rísa sá er á yrkjendr fáa
ok ganga síns verka á vit;
margt um dvelr þann er um morgun sefr,
hálfur er auðr und hvötum.
One must rise early if he wants to obtain the help of the diligent and apply himself to his work with understanding; much is delayed for those who sleep in the morning, half of the wealth is beneath the blankets.
This stanza emphasizes the importance of being industrious, proactive, and diligent in order to achieve success and prosperity.
The first line, "Ár skal rísa sá er á yrkjendr fáa," can be translated as "One must rise early if he wants to obtain the help of the diligent." It suggests that in order to benefit from the assistance, support, or collaboration of those who are diligent (yrkjendr), one must be proactive and rise early. The word "ár" conveys the idea of starting early or acting promptly.
The second line, "ok ganga síns verka á vit," encourages individuals to apply themselves to their work with understanding or insight. It emphasizes the importance of approaching tasks and responsibilities with wisdom, knowledge, and skill.
The third line, "margt um dvelr þann er um morgun sefr," states that much is delayed or left undone for those who sleep in the morning. This line highlights the consequences of laziness, procrastination, or wasting time. It suggests that those who prioritize rest or idleness in the morning are likely to miss out on opportunities or experience delays in their pursuits.
The final line, "hálfur er auðr und hvötum," metaphorically indicates that half of the wealth is beneath the blankets. It implies that those who prioritize sleep or idleness are missing out on potential wealth, success, or opportunities. The line emphasizes the idea that one must be active, alert, and engaged to access the rewards and benefits available to them.
Overall, this stanza encourages individuals to be diligent, proactive, and attentive to their work and responsibilities. It emphasizes the importance of rising early, applying oneself with understanding, and avoiding laziness or unnecessary delays. It suggests that success, wealth, and accomplishment come to those who actively pursue their goals and make the most of their time and opportunities.
60
Þurra skíða ok þakinna næfra,
þess kann maðr mjöt
ok þess viðar er vinnask megi
mál ok misseri.
Dry firewood and well-covered kindling, one knows the value of that; and of that timber which can be obtained for building and various purposes.
This stanza highlights the practical importance of having dry firewood, well-covered kindling, and usable timber. It emphasizes the value of these materials and their various applications.
The first line, "Þurra skíða ok þakinna næfra," can be translated as "Dry firewood and well-covered kindling." It refers to the importance of having properly dried and prepared fuel for fires. In ancient times, firewood was essential for heating, cooking, and providing light. The phrase "þakinna næfra" indicates that the kindling should be protected or covered to keep it dry and ready for use.
The second line, "þess kann maðr mjöt," suggests that a person understands the value of these materials. The word "mjöt" refers to the knowledge or understanding one has about something. In this case, it is the appreciation and awareness of the value of dry firewood and covered kindling.
The third line, "ok þess viðar er vinnask megi," implies that one also recognizes the value of timber that can be obtained for various purposes. This timber can be used for building structures or for other practical needs. The stanza emphasizes the importance of having access to quality timber and utilizing it effectively.
The final line, "mál ok misseri," indicates that the timber can be utilized for "mál" (a project, task, or undertaking) and "misseri" (various purposes or occasions). It suggests that the timber can be employed in different contexts and serve multiple needs.
Overall, this stanza emphasizes the practical knowledge and understanding of the value of dry firewood, covered kindling, and usable timber. It underscores the importance of having these materials available for various purposes, such as providing heat, cooking, and construction. It reflects the practical wisdom and resourcefulness of utilizing natural resources effectively.
61
Þveginn ok mettr ríði maðr þingi at,
þótt hann sét væddr til vel;
Skúa ok bróka skammisk engi maðr
né hests in heldr, þátt hann hafit góðan
Clean and well-fed, a man should ride to the assembly, even if he appears dressed modestly; No man should be ashamed of shoes or breeches nor of his horse, even if it is of average quality.
This stanza advises individuals to present themselves well when attending an assembly or gathering, regardless of their material possessions. It promotes cleanliness, contentment, and self-confidence rather than focusing on external appearances.
The first line, "Þveginn ok mettr ríði maðr þingi at," can be translated as "Clean and well-fed, a man should ride to the assembly." It suggests that one should be physically clean and nourished before attending important gatherings or events. This reflects the importance of personal hygiene and maintaining good health.
The second line, "þótt hann sét væddr til vel," means "even if he appears dressed modestly." It emphasizes that one should not be overly concerned with their attire or external appearance. Instead, the focus should be on inner qualities and character.
The third line, "Skúa ok bróka skammisk engi maðr," states that "No man should be ashamed of shoes or breeches." It implies that one should not be embarrassed or feel inferior due to modest or simple clothing. Material possessions should not determine one's self-worth or confidence.
The final line, "né hests in heldr, þátt hann hafit góðan," translates to "nor of his horse, even if it is of average quality." It suggests that one should not be ashamed of their horse, regardless of its quality or appearance. It emphasizes that owning a horse, even if it is not exceptional, should not diminish one's self-esteem or status.
Overall, this stanza promotes the idea that one's worth and presence should not be defined by material possessions or external appearances. It encourages individuals to focus on inner qualities such as cleanliness, contentment, and self-assurance when participating in gatherings or important events. It emphasizes the importance of personal dignity and self-respect over superficial judgments based on material possessions.
62
Snapir ok gnapir, er til sævar kemr,
örn á aldinn mar:
Svá er maðr er með mörgum kemr
ok á formælendr fáa.
Snatchings and gripings occur when one comes to the sea, the eagle on the old ocean: So it is with a man who comes among many and has few advocates.
This stanza describes a situation where conflicts and confrontations arise when someone enters a new environment or encounters a group of people. It compares this experience to an eagle encountering rough waves in the sea.
The first line, "Snapir ok gnapir, er til sævar kemr," can be translated as "Snatchings and gripings occur when one comes to the sea." It suggests that when someone enters unfamiliar territory or interacts with a new group of people, tensions and disputes may arise. The sea is used metaphorically to represent this unpredictable and potentially challenging situation.
The second line, "örn á aldinn mar," means "the eagle on the old ocean." The eagle symbolizes an individual navigating through the turbulent waters of social interactions. The phrase "aldinn mar" refers to the vast and unpredictable ocean, emphasizing the potential difficulties and conflicts that can arise.
The third line, "Svá er maðr er með mörgum kemr ok á formælendr fáa," translates to "So it is with a man who comes among many and has few advocates." It highlights the challenges faced by an individual who enters a group or community where they have limited support or allies. This person may encounter difficulties, misunderstandings, or conflicts due to a lack of influential supporters or advocates.
Overall, this stanza serves as a cautionary reminder of the potential challenges that can arise when entering new social environments or interacting with unfamiliar groups of people. It emphasizes the importance of navigating such situations with caution and awareness, as conflicts may occur when there is a lack of support or advocates.
63
Fregna ok segja skal fróðra hverr,
sá er vill heitinn horskr,
einn vita né annarr skal,
þjóð veit, ef þrír ro.
1
1
64
Ríki sittskyli ráðsnotra
hverr í hófi hafa;
þá hann þat finnr, er með fræknum kemr
at engi er einna hvatastr.
1
1
65
orða þeira, er maðr öðrum segir
oft hann gjöld um getr.
1
1
66
Mikilsti snemma kom ek í marga staði
en til síð í suma;
öl var drukkit, sumt var ólagat,
sjaldan hittir leiðr í líð.
1
1
67
Hér ok hvar myndi mér heim of boðit,
ef þyrftak at málungi mat,
eða tvau lær hengi at ins tryggva vinar,
þars ek hafða eitt etit.
1
1
68
Eldr er beztr með ýta sonum
ok sólar sýn,
heilyndi sitt, ef maðr hafa náir,
án við löst at lifa.
1
1
69
Erat maðr alls vesall, þótt hann sé illa heill;
sumr er af sonum sæll,
sumr af frændum, sumr af fé ærnu,
sumr af verkum vel.
1
1
70
Betra er lifðum en sé ólifðum,
ey getr kvikr kú;
eld sá ek upp brenna auðgum manni fyrir,
en úti var dauðr fyr durum.
1
1
71
Haltr ríðr hrossi, hjörð rekr handar vanr,
daufr vegr ok dugir,
blindr er betri en brenndr séi,
nýtr manngi nás.
1
1
72
Sonr er betri, þótt sé síð of alinn
eftir genginn guma;
sjaldan bautarsteinar standa brautu nær,
nema reisi niðr at nið.
1
1
73
Tveir ro eins herjar, tunga er höfuðs bani;
er mér í heðin hvern handar væni.
1
1
74
Nótt verðr feginn sá er nesti trúir,
skammar ro skips ráar;
hverf er haustgríma;
fjölð um viðrir á fimm dögum
en meira á mánuði.
1
1
75
Veita hinn er vettki veit,
margr verðr af aurum api;
maður er auðigr, annar óauðigr,
skylit þann vítka váar.
1
1
76
Deyr fé, deyja frændr,
deyr sjalfr it sama,
en orðstírr deyr aldregi
hveim er sér góðan getr.
1
1
77
Deyr fé, deyja frændr,
deyr sjalfr it sama,
ek veit einn at aldrei deyr:
dómr um dauðan hvern.
1
1
78
Fullar grindr sá ek fyr Fitjungs sonum,
nú bera þeir vonar völ;
svá er auðr sem augabragð,
hann er valtastr vina.
1
1
79
Ósnotr maðr, ef eignask getr
fé eða fljóðs munuð,
metnaðr hánum þróask, en mannvit aldregi:
fram gengr hann drjúgt í dul.
1
1
80
Þat er þá reynt, er þú að rúnum spyrr
inum reginkunnum,
þeim er gerðu ginnregin
ok fáði fimbulþulr;
þá hefir hann bazt, ef hann þegir
1
1
81
At kveldi skal dag leyfa,konu, er brennd er,
mæki, er reyndr er, mey, er gefin er,
ís, er yfir kemr, öl, er drukkit er.
1
1
82
Í vindi skal við höggva, veðri á sjó róa,
myrkri við man spjalla, mörg eru dags augu;
á skip skal skriðar orka, en á skjöld til hlífar,
mæki höggs, en mey til kossa.
1
1
83
Við eld skal öl drekka, en á ísi skríða,
magran mar kaupa, en mæki saurgan,
heima hest feita, en hund á búi.
1
1
84
Meyjar orðum skyli manngi trúa
né því, er kveðr kona,
því at á hverfanda hvéli váru þeim hjörtu sköpuð,
brigð í brjóst um lagið.
1
1
85
Brestanda boga,brennanda loga,
gínanda ulfi, galandi kráku,
rýtanda svíni, rótlausum viði,
vaxanda vági, vellanda katli,
1
1
86
Fljúganda fleini, fallandi báru,
ísi einnættum, ormi hringlegnum,
brúðar beðmálum eða brotnu sverði,
bjarnar leiki eða barni konungs.
1
1
87
Sjúkum kalfi, sjalfráða þræli,
völu vilmæli, val nýfelldum.
1
1
88
Akri ársánum trúi engi maðr
né til snemma syni,
- veðr ræðr akri.en vit syni;
hætt er þeira hvárt.
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1
89
Bróðurbana sínum, þótt á brautu mæti,
húsi hálfbrunnu, hesti alskjótum,
- þá er jór ónýtr,ef einn fótr brotnar -,
verðit maðr svá tryggr at þessu trúi öllu.
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1
90
Svá er friðr kvenna, þeira er flátt hyggja,
sem aki jó óbryddum á ísi hálum,
teitum, tvévetrum ok sé tamr illa,
eða í byr óðum beiti stjórnlausu,
eða skyli haltr henda hrein í þáfjalli.
1
1
91
Bert ek nú mæli, því at ek bæði veit,
brigðr er karla hugr konum;
þá vér fegrst mælum, er vér flást hyggjum:
þat tælir horska hugi.
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92
Fagurt skal mæla ok fé bjóða
sá er vill fljóðs ást fá,
líki leyfa ins ljósa mans:
Sá fær er fríar
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1
93
Ástar firna skyli engi maðr
annan aldregi;
oft fá á horskan,er á heimskan né fá,
lostfagrir litir.
1
1
94
Eyvitar firna er maðr annan skal,
þess er um margan gengr guma;
heimska ór horskum gerir hölða sonu
sá inn máttki munr.
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1
95
Hugr einn þat veit er býr hjarta nær,
einn er hann sér um sefa;
öng er sótt verri hveim snotrum manni
en sér engu að una.
1
1
96
Þat ek þá reynda er ek í reyri sat
ok vættak míns munar;
hold ok hjarta var mér in horska mær;
þeygi ek hana at heldr hefik.
1
1
97
Billings mey ek fann beðjum á
sólhvíta sofa;
jarls ynði þótti mér ekki vera
nema við þat lík at lifa.
1
1
98
1“Auk nær aftni skaltu, Óðinn, koma,
ef þú vilt þér mæla man;
allt eru ósköp nema einir viti
slíkan löst saman.”
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1
99
Aftr ek hvarf ok unna þóttumk
vísum vilja frá;
hitt ek hugða at ek hafa mynda
geð hennar allt ok gaman.
1
1
100
Svá kom ek næst at in nýta var
vígdrótt öll um vakin,
með brennandum ljósum ok bornum viði,
svá var mér vílstígr of vitaðr.
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1
1
1
1
1
1
1
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