Irish Poet Thomas Moore composed the poem titled -- The Last Rose of Summer. It is claimed that he was inspired to write it in 1805 while lodging at Jenkinstown Castle in County Kilkenny, Ireland, by a specimen of Rosa Old Blush. The poem is accompanied by a traditional tune known as Aisling an Óigfhear, or The Young Mans Dream. Edward Bunting composed the tune in 1792 after hearing harper Denis Hempson perform it at the Belfast Harp Festival. Together, the poem and the song were released in December 1813 in A Selection of Irish Melodies by Thomas Moore, volume 5. John Andrew Stevenson composed the original piano accompaniment; in the 19th and 20th centuries, while numerous different arrangements were further created. In song form, the poem is arguably as well-known now as it was when it was first published
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[Wikipedia-Link : https://en.wikipedia.org/wiki/The_Last_Rose_of_Summer ]
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#Songs
Alfred, Lord Tennyson (1809–1892), a famous Victorian poet, wrote the poem Ulysses in 1833 in blank verse form and included it in his well appreciated second volume of poetry in 1842. It is an iconic instance of the dramatic monologue and a poem that is frequently referenced. The mythical hero Ulysses, facing old age, recalls his dissatisfaction and restlessness upon returning to his homeland, Ithaca. Ulysses longs to go once more despite his reunion with his wife Penelope and son Telemachus. Ulysses, or Odysseus as he is known in Greek, has been extensively discussed in literature. Tennyson draws on account of Homer regarding journey of Odysseus in the poem. The exploits of Odysseus were first told in Iliad and Odyssey, written around 800–700 BC. However, the majority of critics believe that Ulysses by Tennyson evokes Ulisse by Dante from his Inferno, written around 1320. Ulisse is sent to hell with the false counselors in the retelling of the story by Dante because he sought knowledge that was beyond the scope of human understanding and because he invented the ruse of Trojan horse. For a significant portion of the existence of the poem, readers admired Ulysses for his resolve -- To Strive, To Seek, To Find, and Not To Yield, and they saw him as a hero. The comments of Tennyson on the poem and the personal circumstances—the passing of his best friend—that inspired it lend credence to the idea that he envisioned a heroic character. In the 20th century, numerous fresh readings of Ulysses drew attention to potential ironies. They challenged more favorable views of the character of Ulysses by showing how he mirrors problematic protagonists in older literature. They suggested, for instance, that Ulysses intends to selfishly abandon his kingdom and family
[Information and Image Credit : Ulysses_(poem), Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/Ulysses_(poem) ]
[Image : A Roman mosaic depicting a maritime scene with Odysseus (Ulysses), from Carthage, 2nd century AD]
[The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer] (Please Relate to Source-Image URL for more Usage Property)] [Wikipedia-Source-Image-URL : https://shorturl.at/eoAFH ] #Poet
According to Norse mythology, the evil dwarves Fjalar and his brother Galar assassinated the very knowledgeable Kvasir and transformed his blood into poetry mead, which served as an inspiration to poets. Kvasir was created from the saliva of the Æsir and the Vanir. Kvasir travelled much over the globe, imparting his great knowledge to people and enlightening them. Over time, Kvasir was invited to the home of two dwarfs, Fjalar and Galar, for a private discussion. The two dwarves killed Kvasir when he arrived and poured his blood into three things. The first two items were pots with the names Són and Boðn, while the third was a pot with the name Óðrerir. The blood was combined with honey and used to make mead by Fjalar and Galar. Anyone who drank from it would develop into a poet or academic. The Mead of Poetry had thus been created from blood of Kvasir. Skáldskaparmál makes reference to Fjalar and Galar. A Jötunn named Gilling and his wife were further assasinated by Fjalar and Galar. Suttungr, their son, went in search of his parents murderers and threatened the dwarven brothers, who gave him the magical mead in return for sparing their life. Suttungr grabbed it and concealed it in the heart of the mountain while his daughter Gunnlöð kept watch. Odin ultimately made the decision to acquire the mead. He spent the entire summer working for Baugi, brother of Suttungr, before requesting a tiny taste of the mead. Odin transformed into a snake and wriggled inside after Baugi bored a hole through the mountain. Gunnlöð was guarding the mead inside, but Odin charmed her into giving him three sips, after which he drank the entire mead, transformed into an eagle, and fled. It is proposed that there are striking similarities between the Sanskrit and Old Norse stories of the theft of Soma, the beverage of the Gods, by the God Indra, and that these similarities point to a shared Proto-Indo-European origin. In the Old Norse story, Odin, in the form of an eagle, thus steals the Mead of Poetry! [Information and Image Credit : Fjalar_and_Galar, Wikipedia; Kvasir, Wikipedia; Wikipedia-Link : https://en.wikipedia.org/wiki/Fjalar_and_Galar Wikipedia-Link: https://en.wikipedia.org/wiki/Kvasir ] [Image: Giant Suttung and the dwarfs by Louis Huard. The dwarves bartered for their lives by offering Suttungr the mead of poetry after he had placed them on a rock that was about to be drowned.] [The Work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer. The Work (Image) is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1928. (Kindly Also Relate to Individual Image URL for More Usage Property)] [Wikipedia-Source-Image-URL : https://en.wikipedia.org/wiki/File:Louis_Huard_-_Giant_Suttung_and_the_Dwarfs.jpg ] #Mythology
In Norse mythology, Ratatoskr is a squirrel that travels up and down the world tree Yggdrasil to relay information to the serpent Níðhöggr, who resides beneath one of the three roots of the trees. Both the Prose Edda, authored by Snorri Sturluson in the 13th century, and the Poetic Edda, which were assembled in the 13th century from previous conventional sources, mentions Ratatoskr. It is thought that the squirrel is most likely just a decorative element in the legendary representation of the world-ash. The world tree is supposed to be being nibbled at by the squirrel, promoting a never-ending cycle of ruination and regeneration, and it is said that the tree represents a constantly changing existence. It is possible that Ratatosk derived its purpose from the European tree squirrel, Sciurus vulgaris, which makes a yelling alert call when it senses danger.
[Information Credit : Ratatoskr, Wikipedia] [Wikipedia-Link : https://en.wikipedia.org/wiki/Ratatoskr ]
[Image: Squirrel on Tree Branch ; Credit : Tetyana Kovyrina , Pexels; (Please Relate to Source Image-URL for More Image Usage Property and License)
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The -World Tree- is a motif present in several religions and mythologies, particularly Indo-European religions and certainly in Norse, Iranian and Indian religions. The world tree is represented as a colossal tree which supports the heavens, thereby connecting the heavens, the terrestrial world, and, through its roots, the underworld. In Norse mythology, Yggdrasil is the world tree. Yggdrasil is attested in the Poetic Edda, compiled in 13th century and the Prose Edda, written in the 13th century. In both sources, Yggdrasil is an immense ash tree that is central and considered very holy. The Æsir go to Yggdrasil daily to hold their courts. The branches of Yggdrasil extend far into the heavens, and the tree is supported by three roots that extend far away into other locations: one to the well Urðarbrunnr in the heavens, one to the spring Hvergelmir, and another to the well Mímisbrunnr. In Persian mythology, the legendary bird Simurgh or alternatively, Saēna bird; Sēnmurw and Senmurv, perches atop a tree located in the center of the sea Vourukasa. This tree is described as having all-healing properties and many seeds. In another account, the tree is the very same tree of the White Hōm i.e. Haōma. Gaokerena or white Haoma is a tree whose vivacity ensures continued life in the universe, and grants immortality to -- All Who Eat From It. Kalpavriksha i.e. Wish-Fulfilling Tree and Ashvattha tree of the Indian religions is also similar example. The Ashvattha tree i.e. Keeper of Horses is described as a sacred fig and corresponds to --The Most Typical Representation of the World Tree in India, upon whose branches the celestial bodies rest. Likewise, the Kalpavriksha is also equated with a fig tree and said to possess wish-granting abilities. Kalpavriksha i.e. Wish-Fulfilling Tree and Ashvattha tree of the Indian religions is also similar example. The Ashvattha tree i.e. Keeper of Horses is described as a sacred fig and corresponds to --The Most Typical Representation of the World Tree in India, upon whose branches the celestial bodies rest. Likewise, the Kalpavriksha is also equated with a fig tree and said to possess wish-granting abilities.
[Information-Credit: World_tree, Wikipedia; Wikipedia-Link : https://en.wikipedia.org/wiki/World_tree ]
[Image: Artistic Depiction of World Tree] #Mythology
Víðarr, also known as the Wide Ruler or Vidar in English, is one of the Sir and is a deity of retribution in Norse mythology. According to legend, Víðarr is the son of Odin and the Jötunn Gríðr. He is prophesied to kill the wolf Fenrir at Ragnarök to exact revenge for the murder of his father. Víðarr is mentioned in the Prose Edda, which was composed in the thirteenth century by Snorri Sturluson, and the Poetic Edda, which was assembled in the thirteenth century from earlier conventional documents. It is believed that Víðarr is pictured beside Fenrir on the Gosforth Cross. The figure is the subject of several ideas, including those involving possible ritual stillness and a Proto-Indo-European origin. At the beginning of the poem, according to Lokasenna, Loki chastises the Gods for failing to properly welcome him to the feast at the hall of Æsir. Odin finally complies with the etiquette laws in verse 10, asking Víðarr to stand and serve the argumentative visitor a drink. Víðarr carries out his directives. Loki gives the Æsir a toast before starting his flyting i.e. a contest of exchanging insults between two parties, often conducted in verse. According to a theory, Víðarr depicts a cosmic figure based on a Proto-Indo-European motif. Further evidence suggests that he was affiliated with both horizontal and vertical space because of his vast step and sturdy shoe, as well as with the lower and upper jaws of the wolf. This means that by killing the wolf, Víðarr prevents the wolf from annihilating the cosmos, allowing the cosmos to be rebuilt after the obliteration of Ragnarök. [Information and Image Credit : Víðarr , Wikipedia ] [Image : A depiction of Víðarr stabbing Fenrir while holding his jaws apart by W. G. Collingwood, 1908, inspired by the Gosforth Cross] [The Original Work (Image) work is in the public domain in its country of origin and other countries and areas where the copyright term is the life of Author plus 70 years or fewer; The Original Work (Image) is in Public Domain in the United States because the book was published before 1923. Also in the public domain in Britain. The Current Work is a AI-Based Colorized Version of the Original; (Kindly Relate to Individual Image URL for More Usage Property)] [Wikipedia-Source Image-URL :
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Sigyn is a divine figure from Norse mythology. She is mentioned in the Prose Edda, which Snorri Sturluson wrote in the 13th century, as well as the Poetic Edda, which was assembled in the 13th century from older traditional sources. Little is said about Sigyn in the Poetic Edda other how she helped her husband Loki when he was imprisoned. She occurs in several kennings, her assistance in assisting Loki through his time in enslavement is emphasised, and she is twice referred to as a Goddess in the Prose Edda. Sigyn might be shown on the Gosforth Cross and has been the focus of numerous theories and cultural allusions. A völva tells Odin in stanza 35 of the Poetic Edda poem Völuspá that she witnesses Sigyn seated extremely unhappy with her chained husband, Loki, under a — Grove of Hot Springs, among several other things. In the concluding prose part of the poem Lokasenna , Sigyn is addressed once more. In the narrative, Loki is shown as having been shackled by the Gods with theguts of his son Nari; his son Váli is said to have been transformed into a wolf; and the goddess Skaði has a poisonous serpent fastened over the face of Loki, dripping venom. Under the dripping poison, Sigyn is supporting a basin. As the basin fills up, she takes it away, at which point Loki is stung with venom, writhing so frantically that tremors rock the entire planet. It has been suggested that the Gosforth Cross in Cumbria, England, which dates to the middle of the eleventh century, contains a number of Norse mythological characters. A long-haired prostrate woman holding something over another tied, is shown near the bottom half of the west side of the cross. A tangled serpent is above them and to the left of them. This has been understood as Sigyn comforting the restrained Loki. [Information and Image Credit : Sigyn, Wikipedia] [Image : Loki and Sigyn by Mårten Eskil Winge (1863)] [The Work (Image) is a faithful photographic reproduction of a two-dimensional, Public Domain Work of Art. The work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of Author plus 100 years or fewer. (Please Relate to Individual Image URLs for More Usage Property)]
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Nótt is the representation of night in Norse mythology. Nótt is described as the daughter of a character by the moniker of Nörvi and is affiliated with the horse Hrímfaxi in both the Poetic Edda, assembled in the 13th century from earlier conventional records, and the Prose Edda, written in the 13th century. The Prose Edda also includes details about lineage of Nótt, which include her three marriages. Even though some document versions mention Jörð as wife of Dellingr and mother of Dagr instead, the third marriage of Nótt was to the deity Dellingr, and their son Dagr, the personification of day, was the outcome. The word Nótt emerges in Old Norse literature as a proper noun. In both the Prose and Poetic Edda, Nótt is personified. Nótt is the daughter of a Jötunn from Jötunheimr by the designation of Norfi or Narfi, according to the exalted figure of High in chapter 10 of the Prose Edda. Nótt, who is characterised as Dark and Swarthy, has been married three times. Her first marriage to Naglfari resulted in the birth of a son named Auðr. The consequence of second marriage of Nótt to Annar was their daughter Jörð, who represents the earth. Finally, Nótt marries the god Dellingr, and the couple has a son named Dagr who is brilliant and fair like his People of His Father. Odin placed Nótt and her son Dagr into the sky with a chariot and a horse each, and they travel around the world every 24 hours. Nótt comes before Dagr, and foam from her horse bit of Hrímfaxi sprays the earth! [Information and Image Credit :: Nótt, Wikipedia] [Image : Nótt rides her horse in this 19th-century picture by Peter Nicolai Arbo] [The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The Work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer. The Work is in Public Domain in the United States as well. (Please Relate to Wikipedia Source Image URL for More Usage Properties)] [Wikipedia-Source-Image-URL :: https://en.wikipedia.org/wiki/File:Peter_Nicolai_Arbo_-_Natten_-_Nasjonalmuseet_-_NG.M.03666.jpg ] #Mythology
In Norse mythology, Bragi is the skaldic deity of poetry. The masculine term Bragr, which in Old Norse can be interpreted as Poetry or as The First, Noblest, is likely the source of the theonym Bragi. It is unclear if the theonym linguistically corresponds to the first or second meaning. Old Norse and Old Swedish records frequently use the private name Bragi, which might possibly allude to the auxiliary aspect of the name of the God. The Old Norse Bragarfull, a cup drank on solemn occasions when oaths are taken, has also been linked to the phrase. The second meaning of Bragr is typically assumed to be the semantic antecedent of the word. It is made quite obvious in Skáldskaparmál that Bragi is son of Odin. Some specific lists of sons of Odin also include this information as well. Many stanzas credited to Bragi Boddason the Old, a Norwegian royal poet who served numerous Swedish kings, including Ragnar Lodbrok, Östen Beli and Björn at Hauge who ruled in the first half of the 9th century, are quoted by Snorri Sturluson in the Prose Edda. This Bragi was regarded as the first skaldic poet and is unquestionably the first known skaldic poet whose verse has survived in remembrance. Only in the Skjáldskaparmál is Bragi son of Hálfdan the Old attested. King Hálfdan the Old fathered this Bragi on Alvig the Wise, a daughter of King Eymund of Hólmgard, making him the sixth of the second of two groups of nine sons. Bragi, the ancestors of the Bragnings, are race of Hálfdan the Generous. [Information and Image Credit :: Bragi, Wikipedia] [Image: The subject of this 19th-century picture by Nils Blommér is Bragi, who is joined by his wife Iðunn and is holding a harp.] [The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The author died in 1853, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer (Please Relate to Wikipedia Source Image URL for More Usage Properties)]
[Source-Image-URL :: https://en.wikipedia.org/wiki/File:Idunn_and_Bragi_by_Blommer.jpg ]
#Mythology
In Norse mythology, Dagr represents the heavenly embodiment of the day. He is mentioned in the Prose Edda, which Snorri Sturluson wrote in the 13th century, as well as the Poetic Edda, which was assembled in the 13th century from older traditional sources. According to both traditions, Dagr is the son of the deity Dellingr and is linked to the day-bringer Skinfaxi, a horse with a dazzling mane. The Prose Edda adds that Dagr is either son of Dellingr by Nótt, the personification of darkness, or Jörð, the personification of Earth, depending on textual alteration. Elsewhere, Dagr emerges in Old Norse writings as a generic term that simply means Day. There have been suggestions that Dagr and other entities with similar names in Germanic mythology are related. In lines 12 and 25 of the poem Vafþrúðnismál, Dagr is mentioned. Gylfaginning, a Prose Edda work, personifies Dagr once more. The hero Svipdagr, who is mentioned in several writings, is thought to be linked to Dagr. This figure can be found, among other places, in two poems that were combined and are referred to as Svipdagsmál in the Poetic Edda, the Prologue to the Prose Edda! [Information and Image Credit : Dagr, Wikipedia] [Image : Dagr (1874) by Peter Nicolai Arbo] [The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The Work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of Author plus 100 years or fewer. The Image is believed to be in Public Domain in United States as well] [Source Image-URL :: https://en.wikipedia.org/wiki/File:Dagr_by_Arbo.jpg ] #Mythology
William Wordsworth wrote a poem titled Lines Written a Few Miles above Tintern Abbey. Wordsworth created it after taking his sister on a sightseeing walking tour of this region of the Welsh Borders. His fundamental perspective is outlined in the account of his interactions with the landscape along the banks of the River Wye. There has been much discussion about why the poem downplays signs of human touch in the landscape and how the poem fits into the loco-descriptive genre from the eighteenth century. The own history of the poet Wordsworth served as the inspiration of the poem. In August 1793, when he was 23 years old and unhappy, he had already made a trip to the area. Since then, he has grown up and started a significant poetic friendship with Samuel Taylor Coleridge. Wordsworth claimed to have written the entire poem fully in his mind, starting it as soon as he left Tintern and finishing it mentally shortly before reaching Bristol, when he first started writing down lines. He was so happy with what he had just written that, even though the Lyrical Ballads the two companions had been collaborating on were already published at the time, he had it included as the ending poem at the last minute. Most academics concur that it is appropriate because the poem epitomises first significant creative period of Wordsworth and foreshadows much of the characteristically Wordsworthian writing that will come later. The poem is composed of verse paragraphs instead of stanzas and is constructed in tightly - knit decasyllabic blank verse. The poem is difficult to classify because it combines parts of an ode and a theatrical monologue. The apostrophe at the opening of the poem makes it resemble a landscape poem from the eighteenth century, but it is now generally accepted that the conversation poetry, which is a natural progression of the loco-descriptive, is the best nomination for the composition. [Information and Image Credit : Lines_Written_a_Few_Miles_above_Tintern_Abbey, Wikipedia] [Image : The Abbey and the upper reaches of the Wye, a painting by William Havell, 1804] [The work (Image) faithful photographic reproduction of a two-dimensional, public domain work of art. The work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer. The work is also in the Public Domain in the United States; (Please Relate to Individual Source Image URL for More Usage Properties)] [Source Image URL :
https://en.wikipedia.org/wiki/File:Tintern-abbey-by-william-havell.jpg ] #Poet
There is a unique place for Mount Damavand in Persian mythology and folktales. At 5,671 metres, Damvand is the tallest mountain peak in Iran and Western Asia, the tallest volcano in Asia and the second highest volcano in the Eastern Hemisphere. It is a significantly an active stratovolcano. A notable mountain in Persian mythology is Damavand. The three-headed dragon Aži Dahāka was imprisoned inside Mount Damvand in Zoroastrian literature and mythology, where he would stay till the end of the world. Later on in the same narrative, after being vanquished by Kāveh and Fereydūn, the tyrant Zahhk was also bound in a cave somewhere within Mount Damvand. This incident is described in the masterpiece by the Persian Poet Ferdowsi, the Shahnameh. In t he Alborz ranges, Mount Damavand is situated near the center. It is located in Amol County, Mazandaran Province, 66 kilometres northeast of Tehran, close to the southern coast of Caspian Sea. The second most recognizable summit in Asia after Mount Everest is Mount Damvand, which is the 12th most notable mountain peak in the entire planet. It is a part of the Volcanic Seven Summits Mountaineering Challenge. The Shahnameh claims that the mountain has mystical powers and serves as a metaphor for Iranian struggle to authoritarianism and colonial occupation. The spot from whence the legendary hero Arash fired his enchanted arrow to define the boundary of Iran during the border dispute between Iran and Turan has also been identified as Damvand Mountain in the Iranian tale of Arash. [Information and Image Credit : Mount_Damavand, Wikipedia] [Image : The Southern Side of Mount Damavand, Mazandaran province, Iran] [Image Availed Under Creative Commons Attribution-Share Alike 4.0 International ; Wikipedia-Image-Author : Safa . daneshvar (Kindly Relate to Individual Source Image URL for More Usage Properties)] [License-Link : https://creativecommons.org/licenses/by-sa/4.0/deed.en ] [Source Image URL : https://en.wikipedia.org/wiki/File:981012-Damavand-South-IMG_9861-2.jpg ]
In Nordic folk-tradition, notably Norse mythology, a troll is a supernatural entity. Trolls are creatures that appear in Old Norse literature. According to these texts, they live in solitary places like caverns, mountains or rock outcroppings. Trolls evolved into beings in their own capacity in later Scandinavian legend, where they dwell far away from human civilization, are not Christianized and are regarded as hazardous to humans. Their looks vary significantly depending on the source of origin; trolls may be hideous and dimwitted or may also act and appear just like humans, lacking any notable repulsive characteristics. In Scandinavian folktales, trolls are occasionally connected to specific locations, which might occasionally be explained as being created when a troll is exposed to sunlight. Trolls appear in a range of contemporary contemporary cultural media. Troll is a term used to refer to Jötnar in Norse mythology and is present all through the Old Norse literature, just like Thurs. Trolls are reported to reside in solitary mountains, rocks and caves, occasionally live in pairs, typically as mother and son or father and daughter and are infrequently portrayed as helpful or pleasant in Old Norse literature. An interaction between an unknown troll woman and the ninth skald (Poets who composed Skaldic Poetry) Bragi Boddason is detailed in the Prose Edda book Skáldskaparmál. In later Scandinavian legend, trolls are referred to be a specific kind of entity. The Proto-Germanic neuter noun *trullan gave rise to the Old Norse nouns troll and trǫll, which have variously been translated as Fiend, Demon, Werewolf and even Jötunn, and the Middle High German troll and trolle. However, it is unknown where the Proto-Germanic term came from Trolls are frequently depicted in numerous stories as being very ancient, very strong but also slow and buffoonish. They are also occasionally characterised as man-eating and as also turning in to stones when exposed to sunlight. Trolls, however, are also reported to have a close similarity to humans, not being particularly repulsive in appearance living far from human civilization, and typically possessing some kind of social structure. Numerous Scandinavian folktales contain the Scandinavian folk conviction that lightning scares away trolls and Jötnar. This concept may be a late manifestation of the role of the god Thor in battling these creatures. According to Scandinavian folklore, smaller trolls reside in mountains and burial mounds. These entities are known as troldfolk, bjergtrolde or bjergfolk in Denmark and as troldfolk and tusser in Norway. The name Troll, given to a Norwegian research outpost in Antarctica, derives from the rocky mountains that surround it and resemble trolls. It has a ground station for tracking polar-orbiting satellites. [Information and Image Credit : Troll, Wikipedia] [Image: Look at them, troll mother said. Look at my sons! You would not find more beautiful trolls on this side of the moon. (1915) by John Bauer ] [The Work (Image) is faithful photographic reproduction of a two-dimensional, Public Domain Work of Art. The author died in 1918, so this work is in the Public Domain in its country of origin and other countries and areas where the copyright term is the life of Author plus 100 years or fewer. The work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1927; (Kindly Relate to Individual Source Image URLs for More Usage Properties)] [Source Image URL : https://en.wikipedia.org/wiki/File:John_Bauer_1915.jpg ] #Mythology
The corpus of tales that originated with the Germanic people, including Norse mythology, Anglo-Saxon mythology and Continental Germanic mythology is known as Germanic mythology. Roman literature is among the earliest documented sources on Germanic mythology. Other reliable sources for information on Germanic mythology include archaeological evidence, Runic inscriptions and names of places. Germanic mythology is essentially a growth of Proto-Indo-European mythology, just as the Germanic languages evolved from Proto-Indo-European languages. Petroglyphs in Scandinavia and other archaeological artefacts indicate that Germanic mythology has persisted at least since the Nordic Bronze Age. Germanic deities and a multitude of other beings are the subject of stories found in the mythologies of the Germanic people. The first and most well-known poem in the Poetic Edda, Völuspá, tells the story of the creation and destruction of the universe. The seeress in Völuspá narrates how Ginnungagap, a vast magical emptiness, existed at the beginning of the world before Odin and his two brothers raised the Earth out of the sea. They discovered Ask and Embla, the tree trunks they later transformed into the first human couple. The accounts in Vafþrúðnismál and are contradicted to those in Völuspá. These claim that Odin made the universe from the corpse of the Giant Ymir. Búri, which had been formed by the primordial cow , was from where Odin and his brothers originated. Indo-Iranian religion has similarities to Germanic mythology that attest to its ancient Indo-European roots. The tree Yggdrasil serves as a focal point for the Germanic universe. The end of the world is foretold by Germanic mythology in the upcoming Ragnarök. The Vanir and the are two groups of Germanic gods that are attested in Old Norse literature. The former Vanir, who are gods of fertility and wealth, are subordinated by the latter , who are essentially gods of war. A crucial component of Germanic paganism was Germanic mythology. [Information and Image Credit : Germanic_mythology, Wikipedia] [Image : The Painting Nerthus (1905) by shows Nerthus, an early Germanic goddess whose name became among the North Germanic people] [The Work (Image) is in the Public Domain in its country of origin and other countries and areas where the copyright term is the Life of Author plus 70 years or fewer. The Image work is also in the Public Domain in the United States. (Please Relate to Individual Image URLs for More Usage Property)] [Source Image URL :
https://en.wikipedia.org/wiki/File:Nerthus_by_Emil_Doepler.jpg ] #Mythology
The Lady of Shalott (1832) is a lyrical narrative set of Music composed by the Victorian Age Poet Alfred Lord Tennyson, narrating the tragic story of Elaine of Astolat (A Character from Arthurian Legend). She is narrated as a Young Woman of a Noble House-Hold, who is grounded in a Tower up the river from Camelot. Lord Bernard, Father of Elaine and the Lord of Astolat, arranges a Jousting Tournament, where King Arthur, as well other Knights including Sir Lancelot attended. It was Lancelot who attended the event after a lot of persuasion by Lord Bernard and his two sons. Elaine was filled with love for Lancelot at first sight and begs Lancelot to carry her token while participating in the tournament. As Queen Guinevere was supposed to attend the tournament as well, Lancelot though wore the token of Elaine, yet participated in disguise and went on to win the competition after defeating some forty participants from the party of King Arthur. In the tournament, Lancelot borrowed a Shield from Sir Torre, the brother of Elaine, while his own Recognizable Shield was left with Torre. During the tournament, Lancelot received an injury to his side from the lance of Sir Bors and was carried away later to the cave of the Hermit Sir Baudwin by another brother of Elaine. Elaine begged her father to bring back the wounded Lancelot to Her Chamber, where she nursed him back to health. As Lancelot recovered, he prepared to leave and offered to pay Elaine for all her services. But to his surprise Elaine brought him back his Shield, which she was guarding all this time. A Cautious Lancelot now did leave the Castle and never to return again, but now cognizant of the feelings of Lady Elaine. After Ten Days, Elaine died of a Heart-Break and according to her last will she was given her last farewell on a small boat, with a lily being clutched in her one hand and her last letter in the other. As she drifted down the river to Camelot, she was discovered by the court of King Arthur and they called Her – A Little Lily Maiden. Lancelot was asked for and arriving he got to know of the content of the letter. Ashamed of Himself, Lancelot paid for Her Rich Burial. Probably what a Husband would have done for His Wife or a Beau for His Lover. What Elaine could not Achieve in Her Life, Probably She Achieved in Her Death --They crossed themselves, their stars they blest, Knight, minstrel, abbot, squire, and guest; There lay a parchment on her breast, That puzzled more than all the rest, The wellfed wits at Camelot; The web was woven curiously, The charm is broken utterly, Draw near and fear not,—this is I, The Lady of Shalott. -- [Image: The Lady of Shalott by John Atkinson Grimshaw (1875)] [Info and Image Credit : The_Lady_of_Shalott , Elaine_of_Astolat , Wikipedia ; Image Availed Under Public Domain Work of Art (Please Relate to Source Image-URL for more Image Usage Property) ] [Source Image-URL :: https://en.wikipedia.org/wiki/File:John_Atkinson_Grimshaw_-_%22The_Lady_of_Shalott%22_-_Google_Art_Project.jpg ] #Mythology
The Snow Maiden, also known as Snegurochka or Snegurka, is a figure from Russian folklore. This character initially appeared in Russian folklore in the 19th century, and it is not clear whether it has any roots in the conventional Slavic mythology and practises. Snegurochka has also been portrayed as the granddaughter and helper of Ded Moroz during New-Year-Celebrations for kids since the mid-20th century during the Soviet era. In the second book of The Poetic Outlook on Nature by the Slavs, which was released in 1869, Alexander Afanasyev included a rendition of a folktale about a snow-white girl with the name Snegurka. He also mentioned the German equivalent, Schneekind (Snow Child). Ivan and Marya, two childless Russian peasants, created a snow doll in this rendition, and it came to life. Snegurka swiftly matures. She is invited by a group of girls for a walk in the woods, following which they build a little fire and alternate jumping over it. Snegurka begins to jump when it is her turn, but she only makes it halfway before dissipating into a tiny cloud. She is the daughter of Spring the Beauty (Веснa-Красна) and Ded Moroz in another narrative, and she longs for the company of mortal humans. She develops a liking for Lel, a shepherd, but her heart is incapable of experiencing love. Her mother bestows this talent on her to Love out of compassion, but the moment she falls in love, she melts away. [Info and Image Credit: Snegurochka, Wikipedia] [Image : Snow Maiden (1899) by Victor Vasnetsov] [Original Image Availed Under Public Domain Work of Art (Please Relate to Individual Image URLs for More Usage Property)] [Source Image-Link : https://en.wikipedia.org/wiki/File:Vasnetsov_Snegurochka.jpg ] #Mythology
In Icelandic and Faroese folklore, elves are known as Huldufólk, or hidden people. They are mythical creatures that exist in the natural world. They resemble humans in appearance and behaviour but exist in a different universe. They have the ability to suddenly become apparent. Folklore from the Faroe Islands claims that concealed people have a — large build, all-grey clothing, and black hair. They are also known as Elves, and they live in mounds. Some Icelandic folk stories warn against hurling stones because they might injure the people who are hidden. In nineteenth century Icelandic folklore, the term -Hhuldufólk- was used as a synonym for álfar (i.e. elves). Huldufólk may have developed as an indirect expression to avoid referring to the álfar by their genuine name. Nevertheless, there is some proof that the two names are now understood to designate to two different categories of supernatural entities in modern Iceland. The álfar were present among the Norse immigrants, whereas the Good People were present among the Irish slaves. In actuality, they are two different pieces of folklore that refer to the same thing but have evolved into two distinct beings over time. The writings of Snorri Sturluson and skaldic poetry include the earliest references to elves and secret people. The Poetic Edda also makes reference to elves, who are thought to be related to fertility. Books from mainland Europe made their way to Iceland in the thirteenth and fourteenth centuries, and they may have impacted elf-related myths and legends. Specific Icelandic holidays—namely Eve of New Year, Thirteenth Night (January Sixth), and Midsummer Night—are thought to have a unique relationship with hidden beings. On Twelfth Night (January Sixth), Elf Bonfires (álfabrennur) are a typical component of the festive celebrations. Icelanders leave candles on the Eve of New Year to guide the elves as they travel to new sites, according to folklore. Folklore holds that on Midsummer Night, if one sit at a crossroad, elves will try to entice people with food and gifts; if one fall prey to their charms, there are dire repercussions, but if one resists, there are wonderful rewards. [Information and Image Credit : Huldufólk, Wikipedia] [Image : Engraving of a Man jumping after a Female Elf into a Precipice] [Image Availed Under Public Domain Work where the copyright term is the life of Author plus 70 years or fewer. (Please Relate to Individual Image URLs for More Usage Property)] [Original Source Image URL :
https://en.wikipedia.org/wiki/File:Jumping_after_Hildur.jpg ] #Mythology
The Snow Maiden, also known as Snegurochka or Snegurka, is a figure from Russian folklore. This character initially appeared in Russian folklore in the 19th century, and it is not clear whether it has any roots in the conventional Slavic mythology and practises. Snegurochka has also been portrayed as the granddaughter and helper of Ded Moroz during New-Year-Celebrations for kids since the mid-20th century during the Soviet era. In the second book of The Poetic Outlook on Nature by the Slavs, which was released in 1869, Alexander Afanasyev included a rendition of a folktale about a snow-white girl with the name Snegurka. He also mentioned the German equivalent, Schneekind (Snow Child). Ivan and Marya, two childless Russian peasants, created a snow doll in this rendition, and it came to life. Snegurka swiftly matures. She is invited by a group of girls for a walk in the woods, following which they build a little fire and alternate jumping over it. Snegurka begins to jump when it is her turn, but she only makes it halfway before dissipating into a tiny cloud. She is the daughter of Spring the Beauty (Веснa-Красна) and Ded Moroz in another narrative, and she longs for the company of mortal humans. She develops a liking for Lel, a shepherd, but her heart is incapable of experiencing love. Her mother bestows this talent on her to Love out of compassion, but the moment she falls in love, she melts away. [Info and Image Credit: Snegurochka, Wikipedia] [Image : Snow Maiden (1899) by Victor Vasnetsov] [Original Image Availed Under Public Domain Work of Art (Please Relate to Individual Image URLs for More Usage Property)] [Source Image-Link : https://en.wikipedia.org/wiki/File:Vasnetsov_Snegurochka.jpg ]
The Lady of Shalott (1832) is a lyrical narrative set of Music composed by the Victorian Age Poet Alfred Lord Tennyson, narrating the tragic story of Elaine of Astolat (A Character from Arthurian Legend). She is narrated as a Young Woman of a Noble House-Hold, who is grounded in a Tower up the river from Camelot. Lord Bernard, Father of Elaine and the Lord of Astolat, arranges a Jousting Tournament, where King Arthur, as well other Knights including Sir Lancelot attended. It was Lancelot who attended the event after a lot of persuasion by Lord Bernard and his two sons. Elaine was filled with love for Lancelot at first sight and begs Lancelot to carry her token while participating in the tournament. As Queen Guinevere was supposed to attend the tournament as well, Lancelot though wore the token of Elaine, yet participated in disguise and went on to win the competition after defeating some forty participants from the party of King Arthur. In the tournament, Lancelot borrowed a Shield from Sir Torre, the brother of Elaine, while his own Recognizable Shield was left with Torre. During the tournament, Lancelot received an injury to his side from the lance of Sir Bors and was carried away later to the cave of the Hermit Sir Baudwin by another brother of Elaine. Elaine begged her father to bring back the wounded Lancelot to Her Chamber, where she nursed him back to health. As Lancelot recovered, he prepared to leave and offered to pay Elaine for all her services. But to his surprise Elaine brought him back his Shield, which she was guarding all this time. A Cautious Lancelot now did leave the Castle and never to return again, but now cognizant of the feelings of Lady Elaine. After Ten Days, Elaine died of a Heart-Break and according to her last will she was given her last farewell on a small boat, with a lily being clutched in her one hand and her last letter in the other. As she drifted down the river to Camelot, she was discovered by the court of King Arthur and they called Her – A Little Lily Maiden. Lancelot was asked for and arriving he got to know of the content of the letter. Ashamed of Himself, Lancelot paid for Her Rich Burial. Probably what a Husband would have done for His Wife or a Beau for His Lover. What Elaine could not Achieve in Her Life, Probably She Achieved in Her Death --They crossed themselves, their stars they blest,
Knight, minstrel, abbot, squire, and guest;
There lay a parchment on her breast,
That puzzled more than all the rest,
The wellfed wits at Camelot;
The web was woven curiously,
The charm is broken utterly,
Draw near and fear not,—this is I,
The Lady of Shalott. --
[Image: The Lady of Shalott by John Atkinson Grimshaw (1875)]
[Info and Image Credit : The_Lady_of_Shalott , Elaine_of_Astolat , Wikipedia ; Image Availed Under Public Domain Work of Art (Please Relate to Source Image-URL for more Image Usage Property) ]
[Source Image-URL :: https://en.wikipedia.org/wiki/File:John_Atkinson_Grimshaw_-_%22The_Lady_of_Shalott%22_-_Google_Art_Project.jpg ]
In Norse mythology, Heimdall (from Old Norse Heimdallr, [hɛimˌdɑlːz̠]) is a God whose duty is to keep watch for foreign invaders as well as for the beginning of Ragnarök from his place of living i.e. Himinbjörg. It is in Himinbjörg where that the sky meets the glowing rainbow bridge Bifröst. He is mentioned to have been endowed with foreknowledge and very eager senses, in particular his ability to see and hear. Heimdall and his belongings have been mentioned in the most intriguing manners. For example, Heimdall is featured with gold-tooth -- The Head is Called His Sword -- and He is -- The Whitest of the Gods. Heimdall is in possession of the emphatic horn Gjallarhorn and the horse with golden-mane the Gulltoppr, along with a cache of mead at his living place. Heimdall is the Child of the Nine Mothers, and he is said to be the creator of all social classes among human beings. Other popular stories include the recovery of revered belonging of Goddess Freyja i.e. Brísingamen while battling in the form of a seal with Loki. The enmity between Heimdall and Loki is noteworthy, as they are already prophesized to kill each other during the final events of Ragnarök. Heimdallr is also known as Rig, Hallinskiði, Gullintanni, and Vindlér or Vindhlér. Heimdall has been mentioned in the 13th century compilation of Poetic Edda, collected from earlier traditional resources; in the 13th century composition of both Prose Edda and Heimskringla; as well as in the poetry of skalds and on an Old Norse runic inscription found in England. Two lines of an otherwise lost poem about the god, Heimdalargaldr, also do survive. Due to the emphatic nature of these testimonials, scholars have supposed various conjectures about the nature of the god, including his relationship to both animate and inanimate beings like sheep, borders and waves. [Image: Heimdallr brings forth the Gift of the Gods to humanity (1907) by Nils Asplund][Info and Image Credit:, Heimdall, Wikipedia; Images Availed Under Creative Commons Attribution-Share Alike 3.0 Unported;
Source Image-URL :- https://en.wikipedia.org/wiki/File:Nils_Asplund_-_Heimdal.jpg ]
The -World Tree- is a motif present in several religions and mythologies, particularly Indo-European religions and certainly in Norse, Iranian and Indian religions. The world tree is represented as a colossal tree which supports the heavens, thereby connecting the heavens, the terrestrial world, and, through its roots, the underworld. In Norse mythology, Yggdrasil is the world tree. Yggdrasil is attested in the Poetic Edda, compiled in 13th century and the Prose Edda, written in the 13th century. In both sources, Yggdrasil is an immense ash tree that is central and considered very holy. The Æsir go to Yggdrasil daily to hold their courts. The branches of Yggdrasil extend far into the heavens, and the tree is supported by three roots that extend far away into other locations: one to the well Urðarbrunnr in the heavens, one to the spring Hvergelmir, and another to the well Mímisbrunnr. In Persian mythology, the legendary bird Simurgh (alternatively, Saēna bird; Sēnmurw and Senmurv) perches atop a tree located in the center of the sea Vourukasa. This tree is described as having all-healing properties and many seeds. In another account, the tree is the very same tree of the White Hōm (Haōma). Gaokerena or white Haoma is a tree whose vivacity ensures continued life in the universe, and grants immortality to "all who eat from it". Kalpavriksha ("wish-fulfilling tree") and Ashvattha tree of the Indian religions is also similar example. The Ashvattha tree ('keeper of horses') is described as a sacred fig and corresponds to "the most typical representation of the world tree in India", upon whose branches the celestial bodies rest. Likewise, the Kalpavriksha is also equated with a fig tree and said to possess wish-granting abilities. (Credit: World_tree, Wikipedia) [Image 1. Yggdrasil in Norse Cosmology 2. Kalpataru, the divine tree of life in Hinduism. 3. The Aśvattha or Bodhi tree 4. Two winged bulls are guarding a sacred tree, on a rhyton from Iran]
In Norse mythology, Bifröst or Birlöst is a fiery rainbow bridge between Midgard (Earth) and Asgard i.e. the realm of the Gods. The bridge is mentioned as Birlöst in Poetic Edda, which was edited in the 13th century from previously surviving sources and as Bifröst i the Prose Edda. According to Prose Edda, the bridge ends in heaven at Himinbjörg. Himinbjörg is the residence of the Heimdall god, who protects the bridge from Jötnar. The destruction of the bridge in Ragnarok by Muspell's army has been foretold. Scholars suggest that the bridge may have originally represented the Milky Way, noting its similarities to another Norse mythological bridge, Gjallarbrú. Scholar Andy Orchard suggested that Bifrost can mean a "shimmering path". Austrian German scholar Rudolf Simek suggested that Bifröst could also mean "the swaying road to heaven". The bridge is mentioned in the Prose Edda books Gylfaginning and Skáldskaparmál, where it is referred to as Bifröst. In chapter 13 of Gylfaginning, Gangleri (King Gylfi in disguise) asks the coronated figure of High which way existed between heaven and earth! With a laugh, High replies that the question is unwise and continued to explain that the gods have built a bridge between heaven and earth. Incredibly, he asks Gangleri if he has heard of it. High says Gangleri must have seen it and mentions that Gangeri can call it a rainbow. (Info-Credit: Bifröst, Wikipedia) [Image: 1. The god Heimdallr stands before the rainbow bridge while blowing a horn (1905) by Emil Doepler. 2. Thor wades through rivers while the rest of the æsir ride across Bifröst (1895) by Lorenz Frølich. 3. Bifröst appears in the background as the gods do battle in Battle of the Doomed Gods (1882) by Friedrich Wilhelm Heine. 4. Bifröst in the background, Heimdallr explains to a young Hnoss how all things came to be (1920) by Willy Pogany. ]
In Norse mythology, Njörðr (Old Norse: Njǫrðr [ˈnjɔrðz̠]) is a god among the Vanir. Njörðr, father of the deities Freyr and Freyja by his unnamed sister, was in an ill-fated marriage with the goddess Skaði, lives in Nóatún and is associated with the sea, seafaring, wind, fishing, wealth, and crop fertility. Njörðr is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, the Prose Edda. The name Njörðr corresponds to that of the older Germanic fertility goddess Nerthus (early 1st c. AD). Both derive from the Proto-Germanic theonym *Nerþuz. The original meaning of the name is contested, but it may be related to the Irish word nert which means "force" and "power". Njörðr's name appears in various place names in Scandinavia, such as Nærdhæwi (now Nalavi, Närke), Njærdhavi (now Mjärdevi, Linköping; both using the religious term vé), Nærdhælunda (now Närlunda, Helsingborg), Nierdhatunum (now Närtuna, Uppland) in Sweden! In the Prose Edda, Njörðr is introduced in chapter 23 of the book Gylfaginning. In this chapter, Njörðr is described by the enthroned figure of High as living in the heavens at Nóatún, but also as ruling over the movement of the winds, having the ability to calm both sea and fire, and that he is to be invoked in seafaring and fishing. High continues that Njörðr is very wealthy and prosperous, and that he can also grant wealth in land and valuables to those who request his aid. (Credit: Njörðr, Wikipedia)
In Norse mythology, Njörðr (Old Norse: Njǫrðr [ˈnjɔrðz̠]) is a god among the Vanir. Njörðr, father of the deities Freyr and Freyja by his unnamed sister, was in an ill-fated marriage with the goddess Skaði, lives in Nóatún and is associated with the sea, seafaring, wind, fishing, wealth, and crop fertility. Njörðr is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, the Prose Edda. The name Njörðr corresponds to that of the older Germanic fertility goddess Nerthus (early 1st c. AD). Both derive from the Proto-Germanic theonym *Nerþuz. The original meaning of the name is contested, but it may be related to the Irish word nert which means "force" and "power". Njörðr's name appears in various place names in Scandinavia, such as Nærdhæwi (now Nalavi, Närke), Njærdhavi (now Mjärdevi, Linköping; both using the religious term vé), Nærdhælunda (now Närlunda, Helsingborg), Nierdhatunum (now Närtuna, Uppland) in Sweden! In the Prose Edda, Njörðr is introduced in chapter 23 of the book Gylfaginning. In this chapter, Njörðr is described by the enthroned figure of High as living in the heavens at Nóatún, but also as ruling over the movement of the winds, having the ability to calm both sea and fire, and that he is to be invoked in seafaring and fishing. High continues that Njörðr is very wealthy and prosperous, and that he can also grant wealth in land and valuables to those who request his aid. (Credit: Njörðr, Wikipedia) (Image 2: Njörd's desire of the Sea (1908) by W. G. Collingwood)
Baldr (also Balder, Baldur) is a god in Germanic mythology. In Norse mythology, Baldr (Old Norse: [ˈbɑldz̠]) is a son of the god Odin and the goddess Frigg, and has numerous brothers, such as Thor and Váli. In wider Germanic mythology, the god was known in Old English as Bældæġ, and in Old High German as Balder, all ultimately stemming from the Proto-Germanic theonym *Balðraz ('hero' or 'prince'). During the 12th century, Danish accounts by Saxo Grammaticus and other Danish Latin chroniclers recorded a euhemerized account of his story. Compiled in Iceland during the 13th century, but based on older Old Norse poetry, the Poetic Edda and the Prose Edda contain numerous references to the death of Baldr as both a great tragedy to the Æsir and a harbinger of Ragnarök.
According to Gylfaginning, a book of Snorri Sturluson's Prose Edda, Baldr's wife is Nanna and their son is Forseti. Baldr had the greatest ship ever built, Hringhorni, and there is no place more beautiful than his hall, Breidablik. (Credit: Baldr, Wikipedia) [image 2: "Each arrow overshot his head" (1902) -- Elmer Boyd Smith - Page 232 of Brown, Abbie Farwell (1902). "In the Days of Giants: A Book of Norse Tales" ]
(Credit:, Heimdall, Wikipedia) In Norse mythology, Heimdall (from Old Norse Heimdallr, [ˈhɛimˌdɑlːz̠]) is a god who keeps watch for invaders and the onset of Ragnarök from his dwelling Himinbjörg, where the burning rainbow bridge Bifröst meets the sky. He is attested as possessing foreknowledge and keen senses, particularly eyesight and hearing. The god and his possessions are described in enigmatic manners. For example, Heimdall is gold-toothed, "the head is called his sword," and he is "the whitest of the gods. Heimdall possesses the resounding horn Gjallarhorn and the golden-maned horse Gulltoppr, along with a store of mead at his dwelling. He is the son of the Nine Mothers, and he is said to be the originator of social classes among humanity. Other notable stories include the recovery of Freyja's treasured possession Brísingamen while doing battle in the shape of a seal with Loki. The antagonistic relationship between Heimdall and Loki is notable, as they are foretold to kill one another during the events of Ragnarök. Heimdallr is also known as Rig, Hallinskiði, Gullintanni, and Vindlér or Vindhlér. Heimdall is attested in the Poetic Edda, compiled in the 13th century from earlier traditional material; in the Prose Edda and Heimskringla, both written in the 13th century; in the poetry of skalds; and on an Old Norse runic inscription found in England. Two lines of an otherwise lost poem about the god, Heimdalargaldr, survive. Due to the enigmatic nature of these attestations, scholars have produced various theories about the nature of the god, including his relation to sheep, borders, and waves. [image: Heimdallr brings forth the gift of the gods to humanity (1907) by Nils Asplund]
The -World Tree- is a motif present in several religions and mythologies, particularly Indo-European religions and certainly in Norse, Iranian and Indian religions. The world tree is represented as a colossal tree which supports the heavens, thereby connecting the heavens, the terrestrial world, and, through its roots, the underworld. In Norse mythology, Yggdrasil is the world tree. Yggdrasil is attested in the Poetic Edda, compiled in 13th century and the Prose Edda, written in the 13th century. In both sources, Yggdrasil is an immense ash tree that is central and considered very holy. The Æsir go to Yggdrasil daily to hold their courts. The branches of Yggdrasil extend far into the heavens, and the tree is supported by three roots that extend far away into other locations: one to the well Urðarbrunnr in the heavens, one to the spring Hvergelmir, and another to the well Mímisbrunnr. In Persian mythology, the legendary bird Simurgh (alternatively, Saēna bird; Sēnmurw and Senmurv) perches atop a tree located in the center of the sea Vourukasa. This tree is described as having all-healing properties and many seeds. In another account, the tree is the very same tree of the White Hōm (Haōma). Gaokerena or white Haoma is a tree whose vivacity ensures continued life in the universe, and grants immortality to "all who eat from it". Kalpavriksha ("wish-fulfilling tree") and Ashvattha tree of the Indian religions is also similar example. The Ashvattha tree ('keeper of horses') is described as a sacred fig and corresponds to "the most typical representation of the world tree in India", upon whose branches the celestial bodies rest. Likewise, the Kalpavriksha is also equated with a fig tree and said to possess wish-granting abilities. (Credit: World_tree, Wikipedia) [Image 1. Yggdrasil in Norse Cosmology 2. Kalpataru, the divine tree of life in Hinduism. 3. The Aśvattha or Bodhi tree 4. Two winged bulls are guarding a sacred tree, on a rhyton from Iran]
The Day Dream (Sitter - Jane Morris) -- Gabriel Charles Dante Rossetti (12 May 1828 – 9 April 1882). (Credit: Dante Gabriel Rossetti, Wikipedia) #Art#ArtWork#Poet#Poetry
Bocca Baciata (1859), modelled by Fanny Cornforth -- Gabriel Charles Dante Rossetti (12 May 1828 – 9 April 1882). He was generally known as Dante Gabriel Rossetti was an English poet, illustrator, painter, and translator, and member of the Rossetti family. Rossetti's art was characterised by its sensuality and its medieval revivalism. His early poetry was influenced by John Keats and William Blake. (Credit: Dante_Gabriel_Rossetti, Wikipedia)
#Art#ArtWork#Poet#Poetry
Ozymandias
BY PERCY BYSSHE SHELLEY
I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”
Source: Shelley’s Poetry and Prose (1977) #Shelley
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