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Nordic Mythology - Vikings and Poseidon Viking Hidden History

Nordic Mythology - Vikings and Poseidon Viking Hidden History

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Published by nick2olothian
This is the best book on Victory for the Children of Wotan. It will help to make you fulfilled in love, prosperous, energetic, and healthy.
This is the best book on Victory for the Children of Wotan. It will help to make you fulfilled in love, prosperous, energetic, and healthy.

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Published by: nick2olothian on Feb 05, 2012
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02/05/2012

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 ==== ====From Somervell’s abridgement of Toynbee’s “A Study Of History”, volumes 7-10 page 236: “An airof failure or, where there is not positive failure, futility surrounds practically all the examples ofArchaism that we have that we have been examinin, and the reason is not far to seek [should be“to be sought”]. The archaist is condemned, by the very nature of his enterprise, to be for evertryin to reconcile past and present…. If he tries to restore the past without takin the present intoconsideration, then the impetus of life ever movin onward will shatter his brittle construction intofragments. If on the other hand, he consents to subordinate his whim of resuscitatin the past tothe task of makin the present workable, his Archaism will prove a sham. Greetins, o Child ofWotan! RU fed up with bein treated like a 2nd-class citizen in your own land? Discover that, whichthe ancient sources prescribe for our victory! Check out THE BOOK OF ODIN!http://www.amazon.com/gp/product/B0065QN8KW/ref=as_li_ss_tl?ie=UTF8&tag=4faskidstorem-20&linkCode=as2&camp=1789 ==== ====What I find immediately most compelling about Freya Aswynn's translation of the Voluspa is thatthe first few stanzas are mysteriously missing from any other translation I have come across. Thisprologue, for so it seems to be, identifies the speaker as a magic user and lists what appears to becredentials for her in that guise. She tells us of her renown, not only to human agencies, but alsoamong the Aesir. The seeress' power, it seems comes from knowing Odin and from receiving hisgifts of jewelry and wisdom. She knows where his eye is hidden, and where Heimdal's horn is alsohidden. Both are power objects to the gods. The eye of Odin represents in this case the power ofclairvoyance (as we know Odin sees all from his throne) granted to the seer, while the Gjallerhornrepresents the power of clairaudience (as Heimdal not only hears the hair growing on the backs ofsheep, but is able to warn the Aesir of the impending doom of Ragnarok). From theseproclamations we are led to trust the word of the Seer as truth, for her knowledge comes directlyfrom the Aesir themselves. The final catch phrase of the stanza "well would you know more?" notonly implies that the Seer's wisdom is vast but also echoes a challenge to defy her knowledge, orto test her. A challenge which, it is probable, would be dangerous to make. The next stanza begins the Voluspa proper, or rather, the section most often quoted bytranslators. It begins with a call for silence, identifying her audience as the many peoples ofMidgard. Heimdal's excursion as Rig shows us that all people are descendants of the same gods,or rather that the DNA of the gods has made its way into every social class through interbreedingwith divine beings. The Seer tells us that Odin is asking her to relate tales to us from as far backas she can remember. As the tone of the tale related suggests that all of history is being hereexplained, we can assume that not only the span of human history is explained, but also that sheis digging back into her own memory to the earliest things that were there contained, i.e.) the firstgleanings of childhood. It is no surprise in that context that we come across references to 'giantswho fed me in former days'. Who are these giants? A moment of reflection in honesty gives us avision of our own parents hovering over our crib: nameless masses of google-eyed drooling idiocypoking and fawning over us with their faux baby-talk giving us food when we cry and changing ourdiapers. These ancestral beginnings are also related to the open endless void of Gunningagap,
 
which can be correlated with the primal whirling of Kether in the KBLH or the 'Alaya Vijnana' ofBuddhism. In this place, things are devoid of form, quality or even differentiation. There are no'things' as it were. No objects, thoughts, or images, but only the open endlessness of the void.Bur's sons are then depicted as being responsible for the creation of Midgard. They are thecreative forces in nature manifesting a conception of the world around the developing child whoseeyes have just seen the forms surrounding them. There follows a state of confusion, where theelements of the world represented by the planets, stars and sun are in the sky, but have no ideawhat their proper place is. By relating this process to similarities in the Qabalistic tradition, we seethings moving through the primary triurnal from Kether through the creative forces of Chokmah(where Bur's sons give the primal energy of the void impetus towards creation) and into form inBinah. At this stage, there is still no order to the movements of these planets (that will come inChesed) and the planets are depicted as being in a state of chaos. This is also reflected in theTaoist tradition as the movement of primal energy out of the state of Wuji (void) into the primaryduality of Yang and Yin (force and form respectively). There is a council depicted in the stage of ordering the universe. It seems that the ancient NordicPeoples in their practice of Althing were able to conceive of a reality governed by consensusrather than the divine ordination common to systems influenced by middle-eastern hierchicalthought where one central being dictated what was to happen to all the rest of creation the sameway that the pharaoh dictated the laws of the land to his servants. The gods can be thought of assuperior to humanity, but from another point of view, all of creation in this sense takes intoconsideration the input from every quarter. This implies egalitarianism despite the culturaltendency to think of the Allfather as being chief. This point of view implies a partnership basedrelationship with the divine rather than one of servitude. From that point of view, the gods are notsuperior, but rather relate to another sphere of influence than does humanity, and both need eachother in order for the universal law to be properly enacted. The Aesir build their temple on Idavoll. Idavoll is significant for two reasons, one is from its name,and the other due to its surviving Ragnarok. Lindow translated Idavoll as "shining field","shimmering field", "eternal field", or "field of pursuits [of the gods]". The fact that this field can bepresent even when all the rest of the universe is destroyed puts it in a place of importance. Thatcoupled with the fact that the Aesir build their homes there before and after Ragnarok suggest thatit may be a metaphor for some basic ever-present aspect of mind. Building a temple there impliesthat a sense of reverence has entered the consciousness of the world-being. Pair that knowledgewith the thought that the gods are next shown building forges, making tools and playing gamesand we get an image of the child moving from the self-centered toddler stage of development, intoa more adult stage of learning skills and trades. Next follows the process of socialization: that of meeting with others and becoming aware of thegreater community around the developing being. This is first indicated by the arrival of three"Thurs maidens". Unfortunately nothing more is said about these maidens, aside from a sidecomment about their pride in their own strength, so it is difficult to know exactly what they mayhave represented to the ancients, though a runester would relate their title to the 'thurisaz' runeand think of them as either a threat or a protective force. The process continues through thecreation of the dwarves, and here we see the skills of manual dexterity and creativity becomingprimarily important. It is even suggested through the reference to "who of the dwarves shouldmould man by master craft" that there may be dwarves associated with different trades who couldbecome teachers to child apprentices, giving them their place in later life once mastery of their
 
craft has been accomplished. Of course we know that it was no dwarf who made mankind, but thesons of Bor, so in this I interpret another meaning of the word 'mould' than the creation of thespecies that may be read initially. If this is true, then the list of dwarves' names may indicate guildheads, but as there is not enough information to make a definite statement on the subject, I willleave it as an intuitive suggestion for someone with more knowledge to follow up, disprove, orcreate. With the onset of pubescence we find the three sons of Bor returning to Midgard to breathe lifeinto a pair of trees. Up to this point the universal child has been solitary, but now he is dual, for thepurpose of finding joy in uniting, one may surmise. Ask and Embla, the ash and the elm are giventhree qualities by the gods. Breath, senses, blood and life fill the wood which we can imagine isthen uprooted and begins to walk around. The fact that Yggdrasil, the world tree, is mentioneddirectly after this may have been indicative of a break in the dialogue, but may also indicate thatthe world tree and the two animate trees that become the proto-man and woman are to becorrelated with the world tree. This fact is supported by the notion that the ash tree that becomesthe first man is also of the same species as the world tree. We see in this the similarity betweenthe world outside and the world within. "The microcosm is the macrocosm" as the old adage has it,or "as above, so below". In that we find that the nine worlds on Ygg's steed are both real placespresent in the world outside of ourselves, but are also states within each individual. Each one of usis a complete map of the entire cosmos, although we may walk in only one of the worlds at a time. Nestled into the roots of the tree is the well of Urd. This is interesting as it seems to place theunfolding of fate in a location present within each individual. This is quite similar to the concept inChinese medicine of the 'jing' which is a form of prenatal 'chi' or energy which determines, withother factors, the length of our lives, our overall constitution and the basic state of our physicalinheritance. The three Norns are present at the well, each playing their own role in the unfolding ofour lives. It goes beyond saying that the three Norns are common characters in almost everyEuropean pagan tradition, in different guises and under different nomenclature. They seem torelate to the unfolding of time as the moment changes. In each moment there are three aspectsthat seem immediately apparent: the moment itself, that which led to the moment, which isexperienced as memory, and that which the moment is becoming, which may be little more thanthe projection of memory's patterns into the realms of apprehension or hope. The three of themdetermine the laws that rule over both men and gods. They are similar to the Buddhist concept ofkarma, in that all beings in the world of illusions are controlled and shaped by their decisions. Notonly that, but also in that what we can experience of the world around us is inevitably shaped bythe form of our unconscious projections. The Norns are the forces that shape those projectionsand so they control everything that we can perceive. This may not be as fatalistic a concept asimmediately apparent, as one always has the choice to see through the illusion into the boundlesslight of the empty void. One of the thulur refers to the Norns as "those women who shape whatmust be". The word for shape here is "skapa" which contains a connotation of fatality, furtheringthe link between the Norns and the inevitable forces inherent in the story of the worlds. There are three Norns, as we have stated above. Their names are Urd, Verdandi and Skuld. Urdis very close to the past tense of the verb "verda" ("to become"), changing the meaning to"became" or "occurred" depending on whether you consider processes to be nouns or verbs. Thesame word in Old English becomes "wyrd" which is defined as "the person, principle or agency bywhich events are determined" in its oldest rendition, though also contains the idea of 'outlandish'or 'otherworldly' in modern usage. This in itself refers to the uncanny action of the Norns in

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