In deed find the tree Sun as the balance of what is a day. The hour in the record shows: A day is 24 hours long. The balance of night is the Time between: The Abyss. To cross the abyss is to become with reality as it is said upon this earth that The Warriors of Valhalla with weighty words from humanity "Spend all day fighting and all night drinking just to rise and start fighting again."
Oh for your barrel of reside, the fallen and the begun. Might your hand of true feel this as the sunk. Just as your throat fulls to your lack of swallow and as your face pale's from stupidity, I know that in this communicated you will barf to stomach the bile that you are. For in that is the obvious, the sun is the day. Round the World it shines brightly and never does it shed it's tears to darken nor blink, even on that equal humanity has killed.
Mountains in Europe fill the blank dockets that the Churches whaled as bones and ink squats to print neither an X nor a path to excused. The bastard of record is in the Seat of Divide? How on Earth is that possible for oddly today the religions still bellow chimney and stoke bricks to cast the show, all for the what is not even on sight.
First Man is a present and this mirrorly a gift to say hi!!
He is best known for his roles as Buliwyf in the film The 13th Warrior
Kulich was born in Prague, Czechoslovakia to a family
As a result of his travels, Kulich speaks four languages fluently—Czech, French, English, and Hungarian. He has expressed an interest in someday writing and developing his own film projects and possibly taking a turn in the director’s chair as well
A devout dog lover, especially of large breeds[4] Kulich has adopted multiple dogs from animal shelters over the years.
Kulich has been an aficionado of motorcycles for many years, an interest that his father also shared. The actor did, however, suffer a rather serious motorcycle accident in late April 2007 while riding in Prague. His injuries, which included a ruptured spleen and five broken ribs, required a three-day hospital stay that was extended to ten days after he suffered an allergic reaction to the pain medication he was being given. On reflection, Kulich views the incident as a life-changing experience and has stated his gratefulness for having survived it.
profound appreciation for architecture, and has participated in several house renovation projects. Though he has been trained to tackle woodworking and electrical tasks, his favorite aspect is house redesign, which includes such major alterations as removing walls to add more space. The work has helped to supplement his income at times and has proven to be therapeutic as well. Kulich has also taken the time to indulge his musical side by learning to play the guitar. He has written songs for the instrument
The gates of Valhalla have broken the locks of time before time was....
I would like to know the Compassion not yet known. The Visions of the Past that lead us into an understanding of the future, not a confusion of timeless measure. The bounds of our loss cannot be calculated by our minds. It just seems to be forcing an equation for the void between life and death so that it can not be understood, just feared.
The gift from the creator of such beautiful minds, said to be in favor with his own, should only compliment his prayer for glory in the journey between the conscience and unconscious. Instead it seems blurred by the doubt in your mind and you are blinded by the delusion or the story of only a golden mansion in the sky to be had upon your entry to the Deathly Realms. All while your soul or spiritual self does nothing to repent for your existence in this world or prepare for your entry into a different one.
To look into the Hour Glass of Time, realizing that the probability of a space before Time, was merely the place when Souls were divided and Twin Flames created to experience this journey independently and yet with only one hope to bring solace to such a decision. The Twin Souls would join to ascend as one in the end so they may be in The Continueand not subject to your End of Times scenario. This thought would have only been carried through to ensure our survival if the visual of such impending disaster had been concreted with the evidence that seems to be in existence today. Albeit a Seer or a Sage would have had to have spoken and thereupon been believed readily. For the dilemma would have been forthcoming and judging by the lack of belief in difference or the thought that "A progressive thought is an atheist thought today," the decision would have had to have been made quickly, without Fear and with the Conviction that it was the correct thing to do.
We are not by chance, nor are we beings that are not capable of what may end up being something incredible. What we know here as life, is an opportunity to see the ones that provide you with choice and accept duty to a higher purpose so that you may experience further growth in any life that you may be fortunate enough to have experienced or to know that you may experience. This is an opportunity to be free of such narrow thinking on man’s part that only encourages disbelief and fear of the unknown.
To take pause in this life, to imagine a divide, an inclusion, a movement of grace and beauty on behalf of the appreciation of the creator of mankind, be it evolution, god, big bangs or any other countless reasons that flow into our libraries to explain the beginning of our existence should be our interest, not cause divisions in our thinking. To halt your thoughts and engage your source of hidden reveal for your own person is what I ask you to require as engagement in this matter of your minds. This world has filled the end times with prejudice of presumption to know and announce not only dates but the very means of the disciplines of the destruction that shall reign upon us. How can such simple minds presume to know what graces us with the visions of an end? A known to a secret reveal would be an answer to the question of the Keep, and not whom the Keep belongs. The Keeper of such Ancient and Timeless minds would only increase a desire to acquire the Keep for the wealth of Souls and the Spirituality that that might deliver if sought out. The beauty in the continuance towards the transcendence of life itself should be a moment with Spiritual understanding, not Fear and Strife.
To have so much, to know so little, and to propagate so much negativity and doubt about life itself, is in truth, shameful for all of humanity.
Long in past an Ancient Hold of sight to admire these gates that brought such incredible wonder into my stride that last nights dream skated them to now. As the bearing of such tucked gather of thresholds had since been removed the casper of the show waved truth to the Iron that metal had drawn such attentive detail to the movement of understanding both death & dimensional paddles. The Gates themselves ornate with The Study of the Horse!! A compass of defined torques. The compiled doors 'of a' collection that bridled no Year just the timely score of a crossing!!
As most of the people on the some of the growth have not had the privacy follow to touch such a story time tell, I just sort the Confucius to the brain staple of a pastel in the patent of this blog to sku. Charge it off as the method of 'comet' as being the antelope of an elephants rose: Ore prose. A good hard laugh to express the 'L' owe 'L' as memory file is justly basic to spillers that cheek this to a standing grew: "Singing everywhere we go!!"
Trusting nothing at the everything theory, it is a skid to Bourne, Identity for the privy factor of a fav. on the mass of the seal. Computers compose at the tree deed owed, yet, on this savior of the groves miled, no corpus christi has thanked the trial, interestingly a burning man fax. These state to state Flags have cored the anchor all while treating the scale to green gourd dollars on the cauliflower ear. this is a quick quid pro quo to fill-in-the-blank as the christians simple sing of a baa baa plate sheet.
Toughly commerce to treasure pandora a box, crate and the daily subbed lace to deem the ale a blood slink of streams. To duck the vase as painted steak, the meeting ore the potatoes on wheats ripe as that is at the very least Cornish game hen to a type trade.
Back to my story on the depth of comprehension touching the sake of bdsm, and, that back to basics of understanding an order that derives character division as the addition to equaling a production graduate of zero times. Think as the dot com is a washer on the screw bolts of minds, drilling these ankles to bank the river type mind on the scalpel of steeple to roam, then in the moments bulb, a find, all in a hay stacks shown.
The field of choice cuts to cattle bark ruffs, in that is the ewe cast, on the guard is I, the dragon of sportiers. Well in define of whom is hoo, Hoot, an awl for the stitch on a giggling stick. Like water had a life, and that life was a ripple on the foot step of a stair, in the best of a boxed and simple lair, the house of a sees candy.
'Gated Horses'
Valhalla
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In Norse mythology, Valhalla (from Old Norse Valhöll "hall of the slain"[1]) is a majestic, enormous hall located in Asgard, ruled over by the god Odin. Chosen by Odin, half of those who die in combat travel to Valhalla upon death, led by valkyries, while the other half go to the goddess Freyja's field Fólkvangr. In Valhalla, the dead join the masses of those who have died in combat known as Einherjar and various legendary Germanic heroes and kings, as they prepare to aid Odin during the events of Ragnarök. Before the hall stands the golden tree Glasir, and the hall's ceiling is thatched with golden shields. Various creatures live around Valhalla, such as the stag Eikþyrnir and the goat Heiðrún, both described as standing atop Valhalla and consuming the foliage of the tree Læraðr.
Valhalla is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, the Prose Edda (written in the 13th century by Snorri Sturluson, Heimskringla (also written in the 13th century by Snorri Sturluson) and in stanzas of an anonymous 10th century poem commemorating the death of Eric Bloodaxe known as Eiríksmál as compiled in Fagrskinna. Valhalla has inspired various works of art, publication titles, and elements of popular culture, and has become a term synonymous with a martial (or otherwise) hall of the chosen dead.
Contents
[hide]Etymology[edit]
The Modern English noun Valhalla derives from Old Norse Valhöll, a compound noun composed of two elements: the masculine noun valr 'the slain' and the feminine noun höll 'hall'. Valr has cognates in other Germanic languages such as Old English wæl 'the slain, slaughter, carnage', Old Saxon wal-dād 'murder', Old High German 'battlefield, blood bath'. All of these forms descend from the Proto-Germanic masculine noun *walaz. Among related Old Norse concepts, valr also appears as the first element of the nouns valkyrja 'chooser of the slain, valkyrie' and Valfreyja, one of the goddess Freyja's several names.[2]
The second element, höll, is a common Old Norse noun. It is cognate to Modern English hall and has the same meaning. Both developed from Proto-Germanic *xallō or *hallō, meaning 'covered place, hall', itself from the Proto-Indo-European root *kol-. As philologists such as Calvert Watkins have noted, the same Indo-European root produced Old Norse hel, a proper noun employed for both the name of another afterlife location and a supernatural female entity who oversees it, as well as the modern English noun hell.[2] In Swedish folklore, some mountains that were traditionally regarded as abodes of the dead were also called Valhall; it is therefore possible that the höll element derives from hallr, "rock", and originally referred to an underworld, not a hall.[3]
Attestations[edit]
Poetic Edda[edit]
Valhalla is referenced at length in the Poetic Edda poem Grímnismál, and Helgakviða Hundingsbana II, while Valhalla receives lesser direct references in stanza 33 of the Völuspá, where the god Baldr's death is referred to as the "woe of Valhalla",[4] and in stanzas 1 to 3 of Hyndluljóð, where the goddess Freyja states her intention of riding to Valhalla with Hyndla, in an effort to help Óttar, as well as in stanzas 6 through 7, where Valhalla is mentioned again during a dispute between the two.[5]
Grímnismál[edit]
In stanzas 8 to 10 of Grímnismál, the god Odin (in the guise of Grímnir) states that Valhalla is located in the realm of Glaðsheimr. Odin describes Valhalla as shining and golden, and that it "rises peacefully" when seen from afar. From Valhalla, every day Odin chooses from those who have died in combat. Valhalla has spear-shafts for rafters, a roof thatched with shields, coats of mail are strewn over its benches, a wolf hangs in front of its west doors, and an eagle hovers above it.[6]
From stanzas 22 to 24, more details are given by Odin about Valhalla: the holy doors of the ancient gate Valgrind stand before Valhalla, Valhalla has five hundred and forty doors that eight hundred men can exit from at once (from which the einherjar will flow forth to engage the wolf Fenrir at Ragnarök). Within Valhalla exists Thor's hall Bilskirnir, and within it exist five hundred and forty rooms, and of all the halls within Valhalla, Odin states that he thinks his son's may be greatest.[7] In stanzas 25 through 26, Odin states that the goat Heiðrún and the hart Eikþyrnir stand on top of Valhalla and graze on the branches of the tree Læraðr. Heiðrún produces vats of mead that liquor cannot be compared to, and from Eikþyrnir's antlers drip liquid into the spring Hvergelmir from which flows forth all waters.[7]
Helgakviða Hundingsbana II[edit]
In stanza 38 of the poem Helgakviða Hundingsbana II, the hero Helgi Hundingsbane dies and goes to Valhalla. In stanza 38, Helgi's glory there is described:
Prose follows after this stanza, stating that a burial-mound was made for Helgi, and that when Helgi arrived in Valhalla, he was asked by Odin to manage things with him. In stanza 39, Helgi, now in Valhalla, has his former enemy Hunding—also in Valhalla—do menial tasks; fetching foot-baths for all of the men there, kindling fire, tying dogs, keeping watch of horses, and feeding the pigs before he can get any sleep. In stanzas 40 to 42, Helgi has returned to Midgard from Valhalla with a host of men. An unnamed maid of Sigrún, Helgi's valkyrie wife, sees Helgi and his large host of men riding into the mound. The maid asks if she is experiencing a delusion, if Ragnarök has begun, or if Helgi and his men have been allowed to return.[8]
In the stanzas that follow, Helgi responds that none of these things have occurred, and so Sigrún's maid goes home to Sigrún. The maid tells Sigrún that the burial mound has opened up, and that Sigrún should go to Helgi there, as Helgi has asked her to come and tend his wounds, which have opened up and are bleeding. Sigrún goes into the mound, and finds that Helgi is drenched in gore, his hair is thick with frost. Filled with joy at the reunion, Sigrún kisses him before he can remove his coat of mail, and asks how she can heal him. Sigrún makes a bed there, and the two sleep together in the enclosed burial mound. Helgi awakens, stating that he must "ride along the blood-red roads, to set the pale horse to tread the path of the sky," and return before the rooster Salgófnir crows. Helgi and the host of men ride away, and Sigrún and her servant go back to their house. Sigrún has her maid wait for him by the mound the next night, but when she arrives at dawn, she finds that he has not returned. The prose narrative at the end of the poem relates that Sigrún dies of sadness, but that the two are thought to have been reborn as Helgi Haddingjaskati and the valkyrie Kára.[9]
Prose Edda[edit]
Valhalla is referenced in the Prose Edda books Gylfaginning and Skáldskaparmál.
Gylfaginning[edit]
Valhalla is first mentioned in chapter 2 of the Prose Edda book Gylfaginning, where it is described partially in euhemerized form. In the chapter, King Gylfi sets out to Asgard in the guise of an old man going by the name of Gangleri to find the source of the power of the gods. The narrative states that the Æsir foresaw his arrival and had prepared grand illusions for him, so that when Gangerli enters the fortress, he sees a hall of such a height that he has trouble seeing over it, and notices that the roof of the hall is covered in golden shields, as if they were shingles. Snorri then quotes a stanza by the skald Þjóðólfr of Hvinir (c. 900). As he continues, Gangleri sees a man in the doorway of the hall juggling short swords, and keeping seven in the air at once. Among other things, the man says that the hall belongs to his king, and adds that he can take Gangleri to the king. Gangleri follows him, and the door closes behind him. All around him he sees many living areas, and throngs of people, some of which are playing games, some are drinking, and others are fighting with weapons. Gangleri sees three thrones, and three figures sitting upon them: High sitting on the lowest throne, Just-As-High sitting on the next highest throne, and Third sitting on the highest. The man guiding Gangleri tells him that High is the king of the hall.[10]
In chapter 20, Third states that Odin mans Valhalla with the Einherjar: the dead who fall in battle and become Odin's adopted sons.[11] In chapter 36, High states that valkyries serve drinks and see to the tables in Valhalla, and Grímnismál stanzas 40 to 41 are then quoted in reference to this. High continues that the valkyries are sent by Odin to every battle, where they choose who is to die, and determine victory.[12]
In chapter 38, Gangleri says: "You say that all men who have fallen in battle from the beginning of the world are now with Odin in Valhalla. With what does he feed them? I should think the crowd there is large." High responds that this is indeed true, that a huge amount are already in Valhalla, but yet this amount will seem to be too few when "the wolf comes." High describes that there are never too many to feed in Valhalla, for they feast from Sæhrímnir (here described as a boar), and that this beast is cooked every day and is again whole every night. Grímnismál stanza 18 is then recounted. Gangleri asks if Odin himself eats the same food as the Einherjar, and High responds that Odin needs nothing to eat—Odin only consumes wine—and he gives his food to his wolves Geri and Freki. Grímnismál stanza 19 is then recounted. High additionally states that at sunrise, Odin sends his ravens Huginn and Muninn from Valhalla to fly throughout the entire world, and they return in time for the first meal there.[13]
In chapter 39, Gangleri asks about the food and drinks the Einherjar consume, and asks if only water is available there. High replies that, of course, Valhalla has food and drinks fit for kings and jarls, for the mead consumed in Valhalla is produced from the udders of the goat Heiðrún, who in turn feeds on the leaves of the "famous tree" Læraðr. The goat produces so much mead in a day that it fills a massive vat large enough for all of the Einherjar in Valhalla to satisfy their thirst from it. High further states that the stag Eikþyrnir stands atop Valhalla and chews on the branches of Læraðr. So much moisture drips from his horns that it falls down to the well Hvelgelmir, resulting in numerous rivers.[14]
In chapter 40, Gangleri muses that Valhalla must be quite crowded, to which High responds by stating that Valhalla is massive and remains roomy despite the large amount of inhabitants, and then quotes Grímnismál stanza 23. In chapter 41, Gangleri says that Odin seems to be quite a powerful lord, as he controls quite a big army, but he yet wonders how the Einherjar keep themselves busy when they are not drinking. High replies that daily, after they've dressed and put on their war gear, they go out to the courtyard and battle one another in one-on-one combat for sport. Then, when mealtime comes, they ride home to Valhalla and drink. High then quotes Vafþrúðnismál stanza 41. In chapter 42, High describes that, "right at the beginning, when the gods were settling" they had established Asgard and then built Valhalla.[15] The death of the god Baldr is recounted in chapter 49, where the mistletoe that is used to kill Baldr is described as growing west of Valhalla.[16]
Skáldskaparmál[edit]
At the beginning of Skáldskaparmál, a partially euhemerized account is given of Ægir visiting the gods in Asgard and shimmering swords are brought out and used as their sole source of light as they drink. There, numerous gods feast, they have plenty of strong mead, and the hall has wall-panels covered with attractive shields.[17] This location is confirmed as Valhalla in chapter 33.[18]
In chapter 2, a quote from the anonymous 10th century poem Eiríksmál is provided (see the Fagrskinna section below for more detail and another translation from another source):
In chapter 17 of Skáldskaparmál, the jötunn Hrungnir is in a rage and, while attempting to catch up and attack Odin on his steed Sleipnir, ends up at the doors to Valhalla. There, the Æsir invite him in for a drink. Hrungnir goes in, demands a drink, and becomes drunk and belligerent, stating that he will remove Valhalla and take it to the land of the jötunn, Jötunheimr, among various other things. Eventually, the gods tire of his boasting and invoke Thor, who arrives. Hrungnir states that Thor is under their protection, and subsequently he can't be harmed while in Valhalla. After an exchange of words, Hrungnir challenges Thor to a duel at the location of Griotunagardar, resulting in Hrungnir's death.[20]
In chapter 34, the tree Glasir is stated as located in front of the doors of Valhalla. The tree is described as having foliage of red gold and being the most beautiful tree among both gods and men. A quote from a work by the 9th century skald Bragi Boddason is presented that confirms the description.[21]
Heimskringla[edit]
Valhalla is mentioned in euhemerized form and as an element of remaining Norse pagan belief in Heimskringla. In chapter 8 of Ynglinga saga, the "historical" Odin is described as ordaining burial laws over his country. These laws include that all the dead are to be burned on a pyre on a burial mound with their possessions, and their ashes are to be brought out to sea or buried in the earth. The dead would then arrive in Valhalla with everything that one had on their pyre, and whatever one had hidden in the ground.[22] Valhalla is additionally referenced in the phrase "visiting Odin" in a work by the 10th century skald Þjóðólfr of Hvinir describing that, upon his death, King Vanlandi went to Valhalla.[23]
In chapter 32 of Hákonar saga Góða, Haakon I of Norway is given a pagan burial, which is described as sending him on his way to Valhalla. Verses from Hákonarmál are then quoted in support, themselves containing references to Valhalla.[24]
Fagrskinna[edit]
In chapter 8 of Fagrskinna, a prose narrative states that, after the death of her husband Eric Bloodaxe, Gunnhild Mother of Kings had a poem composed about him. The composition is by an anonymous author from the 10th century and is referred to as Eiríksmál, and describes Eric Bloodaxe and five other kings arriving in Valhalla after their death. The poem begins with comments by Odin (as Old Norse Óðinn):
The god Bragi asks where a thundering sound is coming from, and says that the benches of Valhalla are creaking—as if the god Baldr had returned to Valhalla—and that it sounds like the movement of a thousand. Odin responds that Bragi knows well that the sounds are for Eric Bloodaxe, who will soon arrive in Valhalla. Odin tells the heroes Sigmund and Sinfjötli to rise to greet Eric and invite him into the hall, if it is indeed he.[26]
Sigmund asks Odin why he would expect Eric more than any other king, to which Odin responds that Eric has reddened his gore-drenched sword with many other lands. Eric arrives, and Sigmund greets him, tells him that he is welcome to come into the hall, and asks him what other lords he has brought with him to Valhalla. Eric says that with him are five kings, that he will tell them the name of them all, and that he, himself, is the sixth.[26]
Modern influence[edit]
The concept of Valhalla continues to have influence in modern popular culture. Examples include the Walhalla temple built by Leo von Klenze for Ludwig I of Bavaria between 1830–1847 near Regensburg, Germany, and the Tresco Abbey Gardens Valhalla museum built by August Smith around 1830 to house ship figureheads from shipwrecks that occurred at the Isles of Scilly, England, where the museum is located.[27]
References to Valhalla appear in literature, art, and other forms of media. Examples include K. Ehrenberg's charcoal illustration Gastmahl in Walhalla (mit einziehenden Einheriern)(1880), Richard Wagner's depiction of Valhalla in his opera cycle Der Ring des Nibelungen (1848–1874), the Munich, Germany-based Germanic Neopagan magazine Walhalla(1905–1913), and the comic series Valhalla (1978-2009) by Peter Madsen, and its subsequent animated film of the same name (1986).[27]
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