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Krákumál: Ragnar Lothbrok's Last Words?

Krákumál: Ragnar Lothbrok's Last Words?



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Krákumál is a long (29-stanza) skaldic poem in Old Norse about a dying warrior's great exploits and death in a snake-pit, composed in the voice of Ragnar Lothbrok but dating to centuries after his death. This video features a reading from excerpts in both Old Norse and in Dr. Jackson Crawford's original English translation.

Dr. Jackson Crawford is Instructor of Nordic Studies and Nordic Program Coordinator at the University of Colorado Boulder (formerly UC Berkeley and UCLA). He is a historical linguist and an experienced teacher of Old Norse, Modern Icelandic, and Norwegian.

FAQs: https://youtu.be/tOgU4vgnmxE

Jackson Crawford’s translation of The Poetic Edda: https://www.amazon.com/gp/product/1624663567
Jackson Crawford’s translation of The Saga of the Volsungs with The Saga of Ragnar Lothbrok: https://www.amazon.com/gp/product/1624666337

Jackson Crawford's Patreon page: https://www.patreon.com/norsebysw


Krákumál

Krákumál (suom. ”Krákan [eli Variksen] laulu”) on keskiaikainen islantilainen runo, jonka kirjoittajaa ei tunneta. Se tunnetaan yleisesti Ragnarr Karvahousun (isl. loðbrók) kuolinlauluna (isl. ævikviða), ja se sisältää yhteensä 29 säkeistöä. Runossa Ragnarr, jonka Northumbrian kuninkaaksi kutsuttu Ælla on laittanut käärmekuoppaan kuolemaan, kuvailee taisteluitaan ja sankaritekojaan, ja kuolee lopulta hymy huulillaan odottaessaan valkyyrioita hakemaan hänet Óðinnin luokse Valhallaan. Ragnarrista kerrotaan myös muissa saagoissa, erityisesti Ragnarr Karvahousun saagassa sekä Ragnarrin poikien tarinassa, jotka kumpikin luetaan niin kutsuttuihin muinaissaagoihin. Krákumál on kyseistä saagaa ja tarinaa vanhempi. Sen nimen on katsottu viittaavan Ragnarrin toisen vaimon, Áslaugin, lempinimeen Kráka, mutta esimerkiksi Magnus Olsen (1935) on Krákumálin runsaat taistelukuvaukset huomioiden esittänyt, että varista tarkoittava kráka on voinut alkujaan viitata kelttiläiseen sodan jumalattareen (Morrigán), joka ilmestyi taisteluihin variksen muodossa. [1] Krákumália ei ole suomennettu.


Ragnar Lothbrok returns to England for revenge

Ragnar returns to Kattegat to get revenge for the destroyed settlement in Wessex orchestrated by King Ecbert (Linus Roache) years previously. But he quickly realizes the people won’t follow him or fight for him anymore. He left many years previous, and they’ve recently learned about the destroyed settlement in Wessex.

Ragnar determines the only way to make it over to England is to bribe a small amount of warriors with treasure to return to England. It works, and together with his son, Ivar (Alex Høgh Andersen), they travel to Wessex. Ragnar knows he doesn’t have enough warriors to exact his revenge, so he comes up with another plan.

Ragnar decides Ivar will return to Kattegat and tell the story of Ragnar’s death (which he plans out ahead of time), prompting his sons to return with a large army to get revenge on England’s kings. Ragnar plans to have his revenge whether he’s alive or not, and it works out exactly as he hoped.

He makes it back to Wessex despite a treacherous sea, and many of his warriors die in the process. Together, Ragnar and Ivar kill the remaining warriors that helped bring them there, and they head to find King Ecbert.


Romantic Circles

Thomas Percy (1729�)

1.        Thomas Percy, churchman and Bishop of Dromore from 1782 to 1798, became one of the leading scholars on literary and antiquarian matters. He edited a number of publications, including translations from Chinese, analysis of Hebrew scripture, and an aborted collection of Spanish songs on Moorish subjects. However, the work that made his name was the publication of a manuscript which he discovered (c. 1753) in the house of his friend Humphrey Pitt. The maids were using its leaves to light the fire. The manuscript contained versions of traditional ballads, probably compiled in the mid-17th century. Reliques of Ancient English Poetry: Consisting of Old Heroic Ballads, Songs and Other Pieces of Our Earlier Poets (Chiefly of the Lyric Kind) Together with Some Few of Later Date was published by the bookseller Robert Dodsley in 1765 and was an immediate success, with a fourth edition published in 1794. Reliques was instrumental in encouraging the collection and study of English ballads. But poets such as William Wordsworth, Walter Scott, and S. T. Coleridge also cited Percy’s work as a source of inspiration for their fiction. [1] 

2.        The antiquary Joseph Ritson attacked Percy for his editorial practices. Although Percy did not fake anything, he certainly interfered with the ballads by rewriting, conflating, and adding to them. This was revealed when the manuscript from which he worked was published in full by J. W. Hales and F. J. Furnivall as Percy’s Folio MS (1867). After his preferment as bishop, Percy increasingly dissociated himself from the role of pioneer in the study of vernacular antiquities.

3.        Two years before the first edition of Reliques of Ancient English Poetry (1765), Percy published Five Pieces of Runic Poetry Translated from the Islandic Language (1763). Like all seventeenth- and eighteenth-century British translators of Old Norse poetry, Percy relied on Latin intermediaries. But to check the translations, Percy enlisted the help of Anglo-Saxon and Gothic scholar Edward Lye (1694�). In Five Pieces, “The Death Song of Ragnar Lodbrog” (today often referred to as Krákumál or the Song of Kraka) was translated in full for the first time. Since Ragnar was seen to epitomize the heroic and superstitious attitudes of the Gothic forefathers, it became the Old Norse text most frequently translated, abstracted and referred to in the eighteenth and early nineteenth centuries. The principal source of transmission of the poem was the Danish antiquary Ole Worm (Lat. Olaus Wormius), who printed it in Latin translation, with a transcription into runes, in his [Runer] seu Danica literatura antiquissima (1636, rev. 1651). The misapprehensions that marred this Latin version determined the interpretation of the practices and belief of Germanic ancestors, especially in regard to the mistranslation that makes the speaker look forward to carousing with drinking vessels made of human skulls (see stanza VIII below).

4.        The speaker in the poem is the semi-legendary Scandinavian king, Ragnar Lodbrog (Ragnarr Loðbrók), who recalls his warrior feats from a pit of poisonous snakes, into which he has been thrown by his enemy, King Ella of Northumberland. In the course of the first twenty-one stanzas, Ragnar recounts his many battles. The remainder of the poem is spoken in the poetic present, as he is succumbing to the effects of venom. With undaunted confidence, Ragnar expresses his anticipation of joining other fallen heroes in Odin’s Valhalla, and he sets out the hope that his sons will avenge his murder.

5.        The poem is a skaldic song (i.e. it belongs to a courtly tradition), written in a variation of the poetic metre dróttkvæði. The stanzas were transmitted in connection with Ragnars saga loðbrókar, which it follows in a vellum from around 1400.

6.        In the text below, Percy’s original notes to the poem have been preserved, since some of these are indicative of his attempts to provide a “readable” version for an English public. This is especially a case of rewriting the kennings, which require knowledge of Norse mythology in order to make sense. Percy displays a degree of scholarly sincerity as he frequently marks passages that were difficult to understand with either triple or, when really problematic, quadruple asterisks (as it can be seen in several lines below). However, a great number of modifications of the original and unwarranted additions are passed over in silence.

7.        It was the antiquary James Johnstone who produced the most philologically accurate edition of the eighteenth century. Johnstone had the aid of the distinguished Icelandic scholar Grímur Jónsson Thorkelin, who was National Archivist in Copenhagen. In the notes to the poem, he provides an overview of the allusions to Baltic geography and the region of Britain. Relevant information from Johnstone’s work is extracted below for each of Percy’s stanzas. (The interpretation of some of the place names in the original remains a matter of dispute.)

  • I. Gothland. Sweden.
  • II. “Describes an engagement in the Straits of Eyra, now the Sound near Elsinore [Denmark]”
  • III. “An Expedition to Duina a river in Livonia”.
  • IV. “ Helsing was a district of Sweden”.
  • V. –
  • VI. “Scarpa-sceria i.e. the sharp rocks, probably Scarpey near Spangaheidi, in Norway, the scene of many of Regner’s adventures”.
  • VII. “ Indyriis is thought to be the Inderö isles in the bay of Drontheim [Norway]”.
  • VIII. Uppsala. Sweden
  • IX. “Burgundar-holm, now Bornholm, an island in the Baltic”.
  • X. “ Flemingia-veldi, included the antient Belgium, now Low-countries”.
  • XI. “All the rest of the poem relates to Regner’s expeditions round the British isles. Engla-nes means English cape, probably on the coast of Kent …”.
  • XII. “ Bartha-firthi seems to have been the mouth of the Tay, near Perth [Scotland]”.
  • XIII. “ Hedninga bay is supposed to have been in the Orkneys”.
  • XIV. Northumberland.
  • XV. The Hebrides.
  • XVI. “Regner makes an expedition to Ireland”.
  • XVII. –
  • XVIII. Isle of Sky.
  • XIX. Hebrides.
  • XX. “Lindiseyri is by some thought to be Lindisnes in Norway, but, as the Irish are mentioned, it is more probably Leins-tir in Ireland”.
  • XXI. “Records a battle, at the mouth of a river in Anglesey …”. [2] 

The Dying Ode of Regner Lodbrog (1763)

Introduction

1.        King Regner Lodbrog was a celebrated Poet, Warrior, and (what was the same thing in those ages) Pirate who reigned in Denmark, about the beginning of the ninth century. After many warlike expeditions by sea and land, he at length met with bad fortune. He was taken in battle by his adversary Ella king of Northumberland. War in those rude ages was carried on with the fame inhumanity, as it is now among the savages of North-America: their prisoners were only reserved to be put to death with torture. Regner was accordingly thrown into a dungeon to be stung to death by serpents. While he was dying he composed this song, wherein he records all the valiant atchievements of his life, and threatens Ella with vengeance which history informs us was afterwards executed by the sons of Regner. [3] 

2.        It is, after all, conjectured that Regner himself only composed a few stanzas of this poem, and that the rest were added by his Scald or poet-laureat, whose business it was to add to the solemnities of his funeral by singing some poem in his praise. L’Edda par Chev. Mallet, p. 150

3.        This piece is translated from the Islandic original published by Olaus Wormius in his Literatura Runica Hafniæ 4to.1631.— Ibidem, 2. Edit. Fol. 1651.

4.        N. B. Thora, mentioned in the first stanza, was daughter of some little Gothic prince, whose palace was infested by a large serpent he offered his daughter in marriage to any one that would kill the monster and set her free. Regner accomplished the atchievement and acquired the name of Lod-brog, which signifies ROUGH or HAIRY-BREECHES, because he cloathed himself all over in rough or hairy skins before he made the attack. [Vide Saxon Gram. pag. 152, 153.] —This is the poetical account of this adventure: but history informs us that Thora was kept prisoner by one of her father’s vassals, whose name was Orme or Serpent , and that it was from this man that Regner delivered her, clad in the aforesaid shaggy armour. But he himself chuses to commemorate it in the most poetical manner.

We fought with swords: *** when in Gothland I slew an enormous serpent: my reward was the beauteous Thora. Thence I was deemed a man: they called me Lodbrog from that slaughter.*** I thrust the monster through with my spear, with the steel productive of splendid rewards. [4] 

We fought with swords: I was very young, when towards the East, in the straights of Eirar, we gained rivers of blood† for the ravenous wolf: ample food for the yellow-footed fowl. There the hard iron sung upon the lofty helmets. The whole ocean was one wound. The raven waded in the blood of the slain.

† Literally “Rivers of wounds.”—By the yellow-footed fowl is meant the eagle.

We fought with swords: we lifted high our lances when I had numbered twenty years, and every where acquired great renown. We conquered eight barons at the mouth of the Danube. We procured ample entertainment for the eagle in that slaughter. Bloody sweat fell in the ocean of wounds. A host of men there lost their lives.

We fought with swords: we enjoyed the fight, when we sent the inhabitants of Helsing to the habitation of the gods†. We failed up the Vistula. Then the sword acquired spoils: the whole ocean was one wound: the earth grew red with reeking gore: the sword grinned at the coats of mail: the sword cleft the shields asunder.

† Literally, “to the hall of Odin.”

We fought with swords: I well remember that no one fled that day in the battle before in the ships Herauder [5]  fell. There does not a fairer warrior divide the ocean with his vessels. *** This prince ever brought to the battle a gallant heart.

We fought with swords: the army cast away their shields. Then flew the spear to the breasts of the warriors. The sword in the fight cut the very rocks: the shield was all besmeared with blood, before king Rafno fell, our foe. The warm sweat run down from the heads on the coats of mail.

We fought with swords, before the isles of Indir. We gave ample prey for the ravens to rend in pieces: a banquet for the wild beasts that feed on flesh. At that time all were valiant: it were difficult to single out any one. At the rising of the sun, I saw the lances pierce: the bows darted the arrows from them.

We fought with swords: loud was the din† of arms before king Eistin fell in the field. Thence, enriched with golden spoils, we marched to fight in the land of Vals. There the sword cut the painted shields.†† In the meeting of helmets, the blood ran from the wounds: it ran down from the cloven sculls of men.

† Din is the word in the Islandic original. Dinn greniudu brottan.  [6] 

†† Literally, “the paintings of the shields.”

We fought with swords, before Boring-holmi. We held bloody shields: we stained our spears. Showers of arrows brake the shield in pieces. The bow sent forth the glittering steel. Volnir fell in the conflict, than whom there was not a greater king. Wide on the shores lay the scattered dead: the wolves rejoiced over their prey.

We fought with swords, in the Flemings land: the battle widely raged before king Freyr fell therein. The blue steel all reeking with blood fell at length upon the golden mail. Many a virgin bewailed the laughter of that morning. The beasts of prey had ample spoil.

We fought with swords, before Ainglanes. There saw I thousands lie dead in the ships: we failed to the battle for six days before the army fell. There we celebrated a mass of weapons†. At rising of the sun Valdiofur fell before our swords.

† This is intended for a sneer on the Christian religion, which tho’ it had not gained any footing in the northern nations, when this Ode was written, was not wholly unknown to them. Their piratical expeditions into the southern countries had given them some notion of it, but by no means a favourable one: they considered it as the religion of cowards, because it would have corrected their savage manners.

We fought with swords, at Bardafyrda. A mower of blood rained from our weapons. Headlong fell the palid corpse a prey for the hawks. The bow gave a twanging found. The blade sharply bit the coats of mail: it bit the helmet in the fight. The arrow sharp with poison and all besprinkled with bloody sweat ran to the wound.

We fought with swords, before the bay of Hiadning. We held aloft magic shields in the play of battle. Then might you see men, who rent shields with their swords. The helmets were mattered in the murmur of the warriors. The pleasure of that day was like having a fair virgin placed beside one in the bed. [7] 

We fought with swords, in the Northumbrian land. A furious storm descended on the shields: many a lifeless body fell to the earth. It was about the time of the morning, when the foe was compelled to fly in the battle. There the sword sharply bit the polished helmet. The pleasure of that day was like killing a young widow at the highest feat of the table.

We fought with swords, in the isles of the south. There Herthiose proved victorious: there died many of our valiant warriors. In the mower of arms Rogvaldur fell: I lost my son. In the play of arms came the deadly spear: his lofty crest was dyed with gore. The birds of prey bewailed his fall: they loft him that prepared them banquets.

We fought with swords, in the Irish plains. The bodies of the warriors lay intermingled. The hawk rejoiced at the play of swords. The Irish king did not act the part of the eagle***. Great was the conflict of sword and shield. King Marstan was killed in the bay: he was given a prey to the hungry ravens.

We fought with swords: the spear resounded: the banners shone† upon the coats of mail. I saw many a warrior fall in the morning: many a hero in the contention of arms. Here the sword reached betimes the heart of my son: it was Egill deprived Agnar of life. He was a youth, who never knew what it was to fear.

† Or more properly “reflected the sunshine up on the coat of mail.”

We fought with swords, at Skioldunga. We kept our words: we carved out with our weapons a plenteous banquet for the wolves of the sea†. The ships were all besmeared with crimson, as if for many days the maidens had brought and poured forth wine. All rent was the mail in the clash of arms.

† A poetical name for the fishes of prey.

We fought with swords, when Harold fell. I saw him strugling in the twilight of death that young chief so proud of his flowing locks†: he who spent his mornings among the young maidens: he who loved to converse with the handsome widows. ****

† He means Harold Harfax king of Norway.— Harfax (synonymous to our English Fairfax) signifies Fair-locks.  [8] 

We fought with swords: we fought three kings in the isle of Lindis. Few had reason to rejoice that day. Many fell into the jaws of the wild-beasts. The hawk and the wolf tore the flesh of the dead: they departed glutted with their prey. The blood of the Irish fell plentifully into the ocean, during the time of that slaughter.

We fought with swords, at the isle of Onlug. The uplifted weapon bit the shields. The gilded lance grated on the mail. The traces of that fight will be seen for ages. There kings marched up to the play of arms. The mores of the sea were stained with blood. The lances appeared like flying dragons.

We fought with swords. Death is the happy portion of the brave†, for he stands the foremost against the storm of weapons. He, who flies from danger, often bewails his miserable life. Yet how difficult is it to rouze up a coward to the play of arms? The dastard feels no heart in his bosom.

† The northern warriors thought none were intitled to Elizium, but such as died in battle, or underwent a violent death.

We fought with swords. Young men should march up to the conflict of arms: man should meet man and never give way. In this hath always consisted the nobility of the warrior. He, who aspires to the love of his mistress, ought to be dauntless in the clash of arms.

We fought with swords. Now I find for certain that we are drawn along by fate. Who can evade the decrees of destiny? Could I have thought the conclusion of my life reserved for Ella when almost expiring I shed torrents of blood? When I launched forth my ships into the deep? When in the Scottish gulphs I gained large spoils for the wolves?

We fought with swords: this fills me still with joy, because I know a banquet is preparing by the father of the gods. Soon, in the splendid hall of Odin, we (shall drink Beer † out of the sculls of our enemies. [9]  A brave man shrinks not at death. I shall utter no repining words as I approach the palace of the gods. [10] 

† Beer and Mead were the only nectar of the northern nations. Odin alone of all the gods was supposed to drink Wine . Vid. Bartholin.

We fought with swords. O that the sons of Aslauga† knew O that my children knew the sufferings of their father! that numerous serpents filled with poison tear me to pieces! Soon would they be here: soon would they wage bitter war with their swords. I gave a mother to my children from whom they inherit a valiant heart.

† Aslauga was his second wife, whom he married after the death of Thora.

We fought with swords. Now I touch on my last moments. I receive a deadly hurt from the viper. A serpent inhabits the hall of my heart. Soon mall my sons black their swords in the blood of Ella. They wax red with fury: they burn with rage. Those gallant youths will not rest till they have avenged their father.

We fought with swords. Battles fifty and one have been fought under my banners. From my early youth I learnt to dye my sword in crimson: I never yet could find a king more valiant than myself. The gods now invite me to them. Death is not to be lamented.

‘Tis with joy I cease. The goddesses of destiny are come to fetch me. Odin hath sent them from the habitation of the gods. I mail be joyfully received into the highest seat I mall quaff full goblets among the gods. The hours of my life are past away. I die laughing. [11] 

Notes

[1] For a general overview, see Kathryn Sutherland, “The Native Poet: The Influence of Percy’s Minstrel from Beattie to Wordsworth”, Review of English Studies 33 (1982): 414󈞍. BACK

[2] Source: Lodbrokar-Quida or the Death Song of Lodbrog, Now First Correctly Printed from Various Manuscripts, ed. James Johnstone (Copenhagen, 1782), 95�. BACK

[3] This revenge, Anglo-Saxon and Scandinavian histories tell us, took place when warriors, who are said to be Ragnar’s sons, invaded northeast England in 867. BACK

[4] The first stanza, about the victory over a supernatural creature, is strangely out of sync with the descriptions of ordinary, human battles enumerated in the rest of the poem. It was likely introduced as part of a different tradition associated with Ragnar. In Percy’s essay “On Ancient Metrical Romances &c”, prefixed to the third volume of Reliques of Ancient English Poetry, Percy used Ragnar’s one-off knightly achievement in this stanza as evidence of English metrical romances being founded on Norse tradition. He says this despite the fact that the poem does not otherwise refer to Ragnar in connection with any romantic endeavours. BACK

[6] This editorial note on the similarity between the Norse dinn and the English din appears to give no essential information to the reader apart from highlighting the closeness of Percy’s translation to the original. It may also serve to back up his claim in the preface to Five Pieces, in which he speaks of the near affinity between Norse and Anglo-Saxon tradition, referring to Icelandic as a “sister dialect” of English. However, the annotation is based on a misreading. Percy’s source, Worm’s Literatura runica, had Hett greniudu hrottar. This is also how the line is rendered in the transcript of the Icelandic original which Percy included in the appendix to his anthology. BACK

[7] The apparent continuity between Ragnar’s bellicosity and his amatory sentiments arrested eighteenth-century commentators. This was a result of a mistranslation in Worm’s edition of a Norse negation, which unfortunately made it appear as a simile with positive implications here, as well as in stanzas 14 and 18. In fact, the Norse –at suffix in the original (vasat) makes the sentences negative (“it was not as”). What was created was the picture of a warrior whose thoughts of war were imbued with romance, whereas, in the original, the construction is used to set up a contrast between fighting on the battlefield and the comfort in domestic and erotic idyll. It was not before 1806, in William Herbert’s Select Icelandic Poetry that this mistake was corrected by an English translator. BACK

[8] Percy, following Ole Worm, refers to Harold I (called “Fairhair”) of Norway (Haraldr hárfagri, c. 840�). However, there is no legend mentioning Ragnar killing Harold, who would also have lived nearly a century too late for the two men to meet in battle. The appellation must refer to King Aurn, a Gaelic ruler of the Western Isles, whose name is mentioned in the original. BACK

[9] One of the most striking images in Worm’s translation was the phrase ex concavis crateribus craniorum (“the hollow cavity of the skulls”). These lines were annotated with the comment: Sperabant heroes se in aula Othini bibituros ex craniis eorum quos occiderant (“The heroes hoped they would drink in Odin’s hall from the skulls of those they had killed”). This interpretation was based on the misconstruction of a kenning, i.e. a metaphorical compound phrase forming the basis of much skaldic poetry. The Old Norse ór bjúgviðum hausa [literally, “from the curved wood of heads”] is simply a substitution for drinking vessels made from animal bone. This misunderstanding came to play an unwarranted role in the perception of Viking culture, as this line was often quoted. BACK

[10] Odin’s Valhalla. The poem remains somewhat of an aberration in respect to the tradition of brave heroes going to Valhalla, since only a few cases in the whole body of Old Norse literature point to a non-battle death as making the hero eligible for a place in Valhalla. BACK

[11] In the original, Ragnar’s concluding line, læjandi skalk deyja, literally translates as “laughing I shall die”. These famous last words were often used to epitomize the idea of northern death-defiance. An illustration of this is S. Ferguson’s translation in Blackwoods Edinburgh Magazine 33 (1833): 915, which emphasized Ragnar’s celebration of death by introducing an emphatically jubilant interjection (with no basis in either Norse or Latin source texts): “E’en on my dying day,/ I’ll laugh one other laughter yet – / Yet ere I pass away, Hurrah – hurrah – hurrah!” BACK


A brief initial voyage

We're used to watching lots and lots of Vikings at this point, so it might surprise you that the show was originally only supposed to run for a mere nine episodes — a length that The New York Times deemed "ambitious."

The miniseries, which aired in 2013, came on the heels of the History Channel's three-part hit Hatfields & McCoys. Starring Kevin Costner and Bill Paxton, among others, it brought narrative drama and star power to a network that typically aimed more for documentaries and reality TV shows. While not perfect, Hatfields & McCoys showed the network that there could be significant interest in other dramatized miniseries. Equipped with this knowledge and with the younger male, action-oriented gaming crowd largely in mind, History decided to head out in their longships in search of bigger fish. The result? Vikings.


Ragnar death speech

Sticker. King Ella of Northumbria, what a horrid future ahead for you! S M L XL 2XL 3XL 4XL 5XL. This design is also available on T-shirt, hoodie and sweatshirt. Ragnar faked his own death and was transported within the walls of the city in a coffin. Hoodie. She never really gets … Secs. Style. A digital painting/illustration of a raven in flight with Ragnar Lothbrok's death speech over layed. Ragnar’s Goodbye Speech To Athelstan Mug. Description Ragnar Final Speech Mug. Although you speak of doing God's work by stating: Ragnar gives final instructions to his son Ivar concerning King Ecbert of Wessex: Ragnar speaks to the Seer: " I guided my fate! Soon I shall be drinking ale from curved horns. A digital painting/illustration of a raven in flight with Ragnar Lothbrok's death speech over layed. Ragnar's story wasn't even written down until 350 years after his death, which is part of what makes some historians skeptical of his existence. Over 150,000 movies and TV episodes, including thousands for Amazon Prime members at no additional cost.#Vikings #RagnarFinalScene Religion can be a horrible thing. I hope you enjoyed the video, please leave a 'like' if you did, and please subscribe. Back to Design. Because Ivar does not think like other men ( much like Ragnar.) Before the deed is done, Ragnar gives a moving speech, but apparently, Fimmel wasn’t too crazy about the whole speech idea at first. Because Ivar has become Ragnar's most powerful son. See more ideas about ragnar, viking quotes, ragnar quotes. High quality Ragnar gifts and merchandise. I shall not enter Odin's hall with fear. Related: Vikings: What Happened To Ragnar Lothbrok's Body After His Death Season 3 saw the siege of Paris, a confrontation between King Charles the Bold’s Frankish forces and the Viking army led by Ragnar.During the first assault, Ragnar climbed a tower, but was pushed over the edge and suffered a very bad fall, hitting his back, crashing against a wall, and falling on a pile of dead bodies. Here then is their bond: they are. by ValhallaDesigns $20 . Mins. Male Female. This hero that comes into Valhalla does not lament his death! Ragnar himself stands on the farthest reaches of our past, in the dim grey that bridges myth and history. Ragnar. Designed and Sold by ValhallaDesigns A digital painting/illustration of a raven in flight with Ragnar Lothbrok's death speech over layed. Completely heartbroken, he said goodbye to his friend in one of the show's most emotional scenes. It seems obvious the words did not come from Ragnar himself, but from a later time. Tags: tv, celeb, famous, painting, holywood Back to Design. Working on Ragnar’s bloody exit, Ciaran knew the gravity of it and how his death would affect everything that came after it. The church in Laodicea of Asia Minor is the last of the 7 churches Jesus had letters sent to in the Book of Revelation..and the Scriptures . "Suddenly, I Could See. Beyond the Cliffs", Enya - O Come, O Come, Emmanuel (Lyric Video) : My favorite Enya Christmas song, "My Death comes without Apology." View Size Chart. $14 $20. » SUBSCRIBE: http://www.youtube.com/channel/UCwSIJCMWZC5GDM59wj7pMsg?sub_confirmation=1Get More Prime Video: Watch More: http://bit.ly/WatchPrimeVideoUKNowFacebook: http://bit.ly/PrimeVideoUKFacebookTwitter: http://bit.ly/PrimeVideoUKTwitterInstagram: http://bit.ly/PrimeVideoUKInstagramAbout Prime Video:Want to watch it now? . 3 Ragnar's Speech To Athelstan. Krákumál is a long (29-stanza) skaldic poem in Old Norse about a dying warrior's great exploits and death in a snake-pit, composed in the voice of Ragnar Lothbrok but dating to centuries after his death. Power is only given to those who … Jun 5, 2017 - Explore Lauriel Thornton's board "Ragnar Quotes" on Pinterest. Perfect Gift for Vikings Series and Ragnar Lothbrok Fans!This design is also available on enamel mug, face mask, neck gaiter, T-shirt, hoodie and sweatshirt. Personally, I believe the latter. And I welcome the Valkyries to summon me home!”

Yggdrasill. The unknowing feeling at … We've got it. Hours. Odin’s Gift says:. Ragnar is said to have been the father of three sons— Halfdan, Inwaer (Ivar the Boneless), and Hubba (Ubbe)—who, according to the Anglo-Saxon Chronicle and other medieval sources, led a Viking invasion of East Anglia in 865. In an epic final moment, Ragnar shares to the spectators how he wants to be remembered. Main Tag Ragnar Mask. There I shall wait for my sons to join me. This video features a reading from excerpts in both Old Norse and in Dr. Jackson Crawford's original English translation. Tags: celtic, norse, odin, odinism, valhalla Available in Plus Size T-Shirt. All orders are custom made and most ship worldwide within 24 hours. Watch this scene from Episode 15 - Ragnar delivers his final speech. Not to be confused with her namesake, Gyda (Shieldmaiden).Gyda Ragnarsdottir was the daughter of Ragnar Lothbrok and Lagertha who perished during the plague along with Thyri, in Kattegat. Vikings season 4 did something that TV shows rarely do: it killed off its main character, Ragnar Lothbrok.The Norse king's death - execution by being dropped into a pit of venomous snakes - was lifted straight from the Viking sagas, and was necessary … My favorite example is in the 1958 movie, "The Vikings", in which Ernest Borgnine portrays Ragnar Lodbrok. Ragnar Death Speech T-Shirt. Religion can be a horrible thing. However, is the poem even remotely genuine? As soon as Athelstan died, Ragnar's life was in a downward spiral. Ragnar Lothbrok, "Still Waters Run Deep. " Gleanings from John 4:7-31, The Letter to the Church in Laodicea. from the Book of. Revelation. part 7, Woo-hoo! The Vikings are back. season 4, episode 11. . My death comes without apology. More Ragnar Death Speech Products. Soon I shall be drinking ale from curved horns. "You were a brave man, Athelstan. In the end, with Ragnar in a cage with poisonous snakes below, speaks: The question lies: Did he say that because he believes that, or did he say that for the love of his people? “Power is dangerous. Description. For four seasons on History's historical drama Vikings, Travis Fimmel starred as Ragnar Lothbrok — father, fearless warrior-king of Denmark, and the bane of England and France. Ragnar then composes his Life-Song/Death-speech as Death reaches for him. Why? "Ivar the Boneless". The Vikings on the History C. Ragnar Lothbrok! Description. Vikings creator and writer, Michael Hirst, also maintained this death for Ragnar in the television series. Size. In the eyes of Ragnar, it is far more important for Ivar to remain alive. The death of Helga’s daughter hurts her for a long time. According to the history books, Ragnar died in a snake pit, at the hands of King Aelle (played by Ivan Kaye in the TV series). This week's newest movies, last night's TV shows, classic favourites, and more are available to stream instantly, plus all your videos are stored in Your Video Library. Why? The legend of Ragnar Lothbrok says that he died just like in the series: thrown into a pit of snakes by King Aelle, but the trick here is that Ragnar’s existence is unclear, and the Viking warrior everyone knows might actually be a combination of different real … Ragnar's eyes gaze on the young boy Alfred, the son of Athelstan. by ValhallaDesigns $10 . Later to be hailed Alfred the Great, Ragnar yields the necklace given him by Althelstan and says: "Here, take this, in the end, people will choose. your kind." A Slave Kills Helga. The unknowing feeling at death. Is there nothing more sacred? So his final great speech from the cage before he dies is not a statement of his own belief, it's a political statement to encourage his sons to avenge his death. In the history of the hit series Vikings, one death has stung more than all the rest.The murder of Ragnar Lothbrok (Travis Fimmel) was hard to watch and it’s something that sticks with you long after you finish watching it. The complete Old Norse skaldic poem “Krákumál” (Lay of Kráka), probably composed at the end of the 12th century on Iceland, consists of 29 stanzas. … Main Tag Ragnar T-Shirt. 0:34. Color: White. "Don't tell me the moon is shining: show me the glint of light in a broken glass." Tags: celtic, norse, odin, odinism, valhalla Back to Design. Ragnar Lodbrok or Lothbrok (Old Norse: Ragnarr Loðbrók, "Ragnar shaggy breeches", Modern Icelandic: Ragnar Loðbrók) is a legendary Viking hero, as well as, according to the Gesta Danorum, a legendary Danish and Swedish king. A horrid future ahead for you death at the bottom of a muddy snake pit, but a. This video features a reading from excerpts in both Old norse and in Dr. Jackson Crawford 's original English.. 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Vikings True Story: How The Real Ragnar Lothbrok Died

Vikings has done its best to be as historically accurate as possible – so, how accurate was Ragnar's death? Here's how the real Ragnar died.

Season 4 of Vikings saw the demise of its lead, Ragnar Lothbrok, but how did the real Ragnar die? Created by Michael Hirst, Vikings made its debut on History Channel in 2013, and was originally planned to be a miniseries. However, the first episodes were so well received that it was renewed for a second season, coming to an end after six seasons and lots of violent and tragic deaths, including those of some of its main characters, such as Ragnar and Lagertha.

Vikings initially followed Ragnar Lothbrok (Travis Fimmel) and his travels and raids alongside his Vikings brothers. As the stories progressed, the series began to shift its focus to Ragnar’s sons and their own journeys, making them the protagonists – which came in handy after season 4, as Ragnar died. Although Vikings is a historical drama and Hirst made a lot of research when developing the series, thus taking many elements from history, it also had to make some up so it could tell the desired stories, more so as there are not many records on the characters depicted in the show.

Ragnar Lothbrok, for example, is a big mystery, but Vikings took many details from the legends of the great Ragnar. In season 4’s episode “All His Angels”, after torturing him and cutting a cross into his head, King Aelle threw Ragnar into a pit of snakes, from which he couldn’t (nor tried to) escape. The legend of Ragnar Lothbrok says that he died just like in the series: thrown into a pit of snakes by King Aelle, but the trick here is that Ragnar’s existence is unclear, and the Viking warrior everyone knows might actually be a combination of different real-life people, with a dose of fiction to add to the legend.

The figure of Ragnar Lothbrok is believed to have been based on three different men: Viking leader Reginherus, King Horik I of Denmark (who appears in the series), and King Reginfrid. With that in mind, the “real” Ragnar died in different ways. Reginherus (or Reginheri) is said to have been killed, though details are unknown King Horik I, along with other kings, were killed in a battle with the forces of his exiled brother, Guttorm, who returned to claim the kingdom (and also died in that battle) and King Reginfrid is said to have been killed in an attempted invasion. When bringing Ragnar Lothbrok’s story to TV, having him die in a pit of snakes as he did in the legend makes a better, more dramatic story than dying in battle or being killed during an invasion.

While Vikings isn’t fully historically accurate, it’s understandable that Hirst and company have taken many creative liberties, as there’s not enough material to work with. Ragnar’s case is a very special one, as everything about him is mere speculation and legend, but at least the most interesting and dramatic version of his death made it to the series.


Personality

Ragnar is a complicated person. He is smart, curious, ambitious, and not without his flaws. He can have times of great despair, impulsivity, doubt, and being overly fascinated with his death. Ragnar can struggle with the two sides of who he is, the man and the legend he becomes. He begins as a family man and often describes himself as a farmer even after he becomes a king. On the other hand, he is known throughout Scandinavia and England as a fearsome warrior and bloodthirsty conquer. While described by the Saxons as a pillaging murderer, he’s not worse than any other Viking in his culture. Ragnar intentionally plays up this conception of him as a form of psychological warfare. He has an extramarital affair that drives away his loving wife and partially alienates him from his eldest son. He can occasionally be selfish, prone to rage, and sometimes seems to have lost his mind. However, Ragnar also can be compassionate, understanding, and supportive. He is protective of his people and his family.

Ragnar always strives to embodies the ideals of Norse society. He claims kinship with the god Odin and takes him for his patron god. He also has the common Norse belief that one’s fate has already been decided. He attributes the twists and turns in life to the whims of the gods. He is often grimly fatalistic about the future. However, upon meeting Athelstan and befriending him, Ragnar learns about Christianity and this leads to him questioning the gods and fate. Ragnar tells the Seer, “You and your gods are wrong. You see I guided my fate, me not you, not the gods.” In the end, Ragnar returns to his faith. His faith can be so strong at times that it rubs off on those around him. For example, Lagertha is originally skeptical about fate, but later embraces it as much as Ragnar when she witnesses the strength of his belief in it. Ragnar’s adoption of Christianity may have been more of a show of respect and love for Athelstan than due to any real belief in Christ. Evidence of this includes him slaying the priest who baptized him without a thought. Although this is complicated by the instance when Ragnar is seemingly dying of his wounds and is visited by a vision of Athelstan. As Ragnar reaches out toward him, Athelstan is transformed in Jesus. They are interrupted by Odin who leaves Ragnar lying in a pool of blood.

Like all Norse warriors, Ragnar is brave in battle and respects worthy adversaries, such as Earl Haraldson and King Ecbert. Even though he killed Haraldson in single combat, Ragnar honors him with a great funeral and says he was “a great man and warrior who earned his renown in this life and now in death.” He suffers from a lack of approval as King of Kattegat when the fate of the Wessex settlement finally comes to light as well as his role in covering it up so he could conquer Frankia. However, he still commands sufficient respect in the north that most people still outwardly treat him with honor. And his legend was still so strong that his sons forbade the election of another king in his ten-year absence. Of course, he later engineers his death in Britain in such a way that it complete rehabilitates his reputation and incites a massive horde of Norse warriors to destroy the kingdoms of Wessex and Northumbria.


Ragnar Lodbrok Sigurdsson b 767, King of Denmark & Sweden

Ragnar Lodbrok Sigurdsson was a Norse Viking hero and legendary king of Denmark and Sweden and is well known from Viking Age Old Norse poetry and sagas. Ragnar lived during the early early days of the Viking age.

The next three ancestral tales will cover your ancestors who were kings over the first unified countries of Norway, Denmark, and Sweden. Consequently, I think it important to provide you with an overview of what it was like in Scandinavia during those early days prior to introducing Ragnar Lodbrok Sigurdsson.

It is important to note that most of what we know about Vikings comes from sagas that were written a couple centuries after the actual event. .Sagas are stories mostly about ancient Nordic and Germanic history, early Viking voyages, the battles that took place during the voyages, and migration to Iceland and of feuds between Icelandic families. They were written in the Old Norse language, mainly in Iceland. Many other experiences were recorded in the form of songs and poetry.

The history of Scandinavia is the history of a geographical region of Scandinavia and its peoples. The region is in northern Europe , and consists of Denmark , Norway , and Sweden .

In Scandinavia, the time following the last ice age period begins at circa 9500 BC. With the ice age over, humans began colonizing this new land. However, in recent years there have been archaeological finds in caves which strongly suggest human inhabitation before the Weichsel glaciations, at least 50,000 years ago, presumably by Neanderthals.

Scandinavian settlements and voyages

Vikings, also called Norseman or Northman, were members of the Scandinavian seafaring warriors who raided and colonized wide areas of Europe. These pagan Danish, Norwegian, and Swedish warriors were probably prompted to undertake their raids by a combination of factors ranging from overpopulation at home to the relative helplessness of victims abroad. The period from the earliest recorded raids in the 790s until the Norman Conquest of England in 1066 is commonly known as the Viking Age of Scandinavian history.

In the western seas, Scandinavian expansion touched practically every possible point. Settlers poured into Iceland from at least about 900, and, from Iceland, colonies were founded in Greenland and attempted in North America. The same period saw settlements arise in the Orkney, Faroe, and Shetland islands, the Hebrides, and the Isle of Man.

The Vikings were ruled by powerful kings and noblemen. The term king was not used in the same way as it is today, because in the Viking period several kings could exist at the same time and they are typically referred to as “petty kings.”In addition, the status of king was not automatically inherited, but had to be fought for.

Below the kings were the nobles or wealthy Vikings known as jarls. They were rich landowners or traders and they employed men to work for them.

Then there were the karls. They were the everyday people and did jobs like farming and craft work. Karls weren’t as rich or important as the jarls, but they weren’t poor either.

At the bottom were the thralls or slaves. They did the hardest, dirtiest jobs and if they tried to run away they could be killed. However, if thralls could earn enough money they could buy their freedom.

The Norse people had their own laws and government. The community would gather together at a meeting called a “Thing.” Here they would settle problems and make decisions. People could vote on what should happen. For example, the Thing might decide who owned a piece of land or how to punish a criminal. All this was overseen by a chieftain or a judge known as a law-speaker. One of the most common methods of punishment was to turn the criminal loose in the forest and let the public go after them and inflict punishment as they saw fit.

Viking laws were not written down, so laws were passed from person to person by word of mouth. People who broke the law became outlaws. They were forced to live in the wilderness and anyone was allowed to hunt them down and kill them.

Many Vikings worked as farmers. Everything was to be done by hand. Farmers grew oats, barley and wheat. They ground the grain to make flour, porridge and ale. They planted vegetables too, and kept animals like cows, sheep, pigs and chickens.

Other Vikings were craft workers. They made the things that people needed. Woodworkers and leatherworkers made plates, cups, belts and shoes. Jewellers made rings and brooches from precious metals. Blacksmiths hammered and twisted red-hot iron into tools, knives and swords. Potters baked clay pots in an oven heated by wood fires.

People took these goods to market to sell. Here a family could buy anything from amber beads and apples, to walrus tusks and wolf-skins. Viking traders sold their goods even further away. They sailed the seas to buy silver, silk, spices and furs to bring back home.

The Viking diet consisted of meat products of all kinds, such as cured, smoked and whey-preserved meat, sausages, and boiled or fried fresh meat cuts were prepared and consumed. There was plenty of seafood, bread, porridges, dairy products, and vegetables. Vikings collected and ate fruits, berries and nuts. Apple wild plums and cherries were part of the diet, as were raspberry, wild strawberry, blackberry, elderberry. Certain livestock were typical and unique to the Vikings, including the Icelandic horse, Icelandic cattle, and a plethora of sheep breeds. The York Vikings mostly ate beef, mutton, and pork with small amounts of horse meat. Chickens were kept for both their meat and eggs. In some places seafood was more important than meat. Whales and walrus were hunted for food in Norway and the north-western parts of the North Atlantic region, and seals were hunted nearly everywhere. Oysters, mussels and shrimps were eaten in large quantities, and cod and salmon were also popular..

Milk and buttermilk were popular, both as cooking and drinks, but were not always available. Milk from cows, goats and sheep was used.

Vikings loved silk and spices which required they travel to Russia. Russians had imported them from China.

Many Viking families lived together in a longhouse. They was built from wood or stone and had a thatched or turf roof. With just one room for all the family to share with their animals, a longhouse would have been a crowded and smelly place to live. There was no bathroom inside, but the Vikings kept clean by washing in a wooden bucket or beside a stream. Instead of toilets, people used a cesspit, which was a hole outside dug for toilet waste.

Another important role played by the women of the house was handing on knowledge to the next generation in the home by sharing poems and stories, including the famous myths and sagas that were later written down in medieval Iceland.

Women in Viking Age Scandinavia did enjoy an unusual degree of freedom for their day. They could own property, request a divorce and reclaim their dowries if their marriages ended. Women tended to marry between the ages of 12 and 15. Though the man was the “ruler” of the house, the woman played an active role in managing her husband, as well as the household. Norse women had full authority in the domestic sphere, especially when their husbands were absent. If the man of the household died, his wife would adopt his role on a permanent basis, singlehandedly running the family farm or trading business. Many women in Viking Age Scandinavia were buried with rings of keys, which symbolized their roles and power as household managers.Although they were few, women rose to a particularly high status and it is said that “Shieldmaidens” dressed like men and fought alongside them.

Vikings followed the traditional religious rituals practiced by Norse pagans in Scandinavia in pre-Christian times. Norse religion was a folk religion, as opposed to an organized religion, and its main purpose was the survival and regeneration of society. Therefore, the faith was decentralized and tied to the village and the family, although evidence exists of great national religious festivals. Norse religion was at no time homogeneous but was a conglomerate of related customs and beliefs. These religious beliefs were heavily connected to Norse mythology. Vikings placed heavy emphasis on battle, honor and focused on the idea of Valhalla, a mythical home with the gods for fallen warriors.

Christianity in Scandinavia came later than most parts of Europe. In Denmark Harald Bluetooth Christianized the country around 980 AD+. The process of Christianization began in Norway during the reigns of Olaf Tryggvason (reigned 995 AD–c.1000 AD) and Olaf II Haraldsson (reigned 1015 AD–1030 AD). Olaf and Olaf II had been baptized voluntarily outside of Norway. Olaf II managed to bring English clergy to his country. Norway’s conversion from the Norse religion to Christianity was mostly the result of English missionaries. As a result of the adoption of Christianity by the monarchy and eventually the entirety of the country, traditional shamanistic practices were marginalized and eventually persecuted. Völvas, practitioners of seid, a Scandinavian pre-Christian tradition, were executed or exiled under newly Christianized governments in the eleventh and twelfth centuries

Sweden required a little more time to transition to Christianity, with indigenous religious practices commonly held in localized communities well until the end of the eleventh century. A brief Swedish civil war ensued in 1066 primarily reflecting the divisions between practitioners of indigenous religions and advocates of Christianity by the mid-twelfth century, the Christian faction appeared to have triumphed the once resistant center of Uppsala became the seat of the Swedish Archbishop in 1164. The Christianization of Scandinavia occurred nearly simultaneously with the end of the Viking era. The adoption of Christianity is believed to have aided in the absorption of Viking communities into the greater religious and cultural framework of the European continent.

RAGNAR LODBROK SIGURDSSON b 767

Ragnar Loldbrok Sigurdsson is my 42nd Great Grandfather. What is known about him comes mostly from sagas, songs, and poetry. I have chosen to begin with him because of the general interest our present society has in the Viking age. Please be aware that the accounts of his life and adventures were written two centuries after his death .Consequently, there are varying accounts.

Ragnar Lodbrok SIGURDSSON, Legendary King of Denmark and Sweden, was born about 767 in Uppsala, Uppsala, Sweden. He died in 845 in Northumbria, England. He was buried in 845 in Uppsala, Uppsala, Sweden. Ragnar married Aslaug Sigurdsdottir WOLSUNG in 783 in Århus, Denmark. Aslaug was born about 755 in Ringerike, Buskerud, Norway. She died in 870 in Ringerike, Buskerud, Norway.

Ragbar’s father was Sigurd “Ring” RANDVARSSON King of Sweden who was born in 730 in Uppsala, Uppsala, Sweden. He died in 812 in Bråvalla, Östergötland, Sweden and was buried in Roskilde, Roskilde, Denmark. Sigurd married Alfhild GANDOLFSDOTTIR Queen of Denmark & Norway.

Ragnar Lothbrok was a historically Norse Viking hero and legendary king of Denmark and Sweden, known from Viking Age Old Norse poetry and sagas. According to that traditional literature, Ragnar distinguished himself by many raids against Francia and Anglo-Saxon England during the 9th century.

Legendary Wives of Ragnar Lothbrok :

Ladgerda, who, though a maiden, had the courage of a man, and fought in front among the bravest with her hair loose over her shoulders. All marvelled at her matchless deeds, for her locks flying down her back betrayed that she was a woman.

Impressed with her courage, Ragnar courted her from afar. Lagertha feigned interest and Ragnar arrived to seek her hand, bidding his companions wait in the Gaular valley. He was set upon by a bear and a great hound which Lagertha had guarding her home, but killed the bear with his spear and choked the hound to death. Thus he won the hand of Lagertha. According to Saxo, Ragnar had a son with her, Fridleif, as well as two daughters, whose names are not recorded

Thora Borgarhjört , is a mythical character in the Norse sagas – the wife of Ragnar Loðbrók, who kills a serpent to win her hand in marriage.

According to the sagas, Thora lived in a bower in Västergötland. Her father gave her a small lindworm that grew into a large serpent and encircled the bower. Her father promised Thora’s hand in marriage to any man who could slay the serpent.

After divorcing his first wife, the shield-maiden Lagertha, Ragnar wanted to make Thora his wife. He went to the bower, wearing breeches that he had treated with tar and sand to protect his legs from the serpent’s poison. It was from these that he gained the epithet Loðbrók (which literally means “Hairy-Britches”). Wielding a spear, Ragnar approached the serpent. It spat poison at him, but the poison could not penetrate Ragnar’s shield or breeches. He stuck his spear through the serpent’s heart and cut off its head. Thora and Ragnar were then married.

According to the Tale of Ragnar’s Sons (Ragnarssona þáttr), Thora and Ragnar had two sons, Eiríkr and Agnar

Aslaug , according to the 13th-century Tale of Ragnar Lodbrok, Aslaug was the daughter of Sigurd and the shieldmaiden Brynhildr, but was raised by Brynhildr’s foster father Heimer. At the deaths of Sigurd and Brynhildr, Heimer was concerned about Aslaug’s security, so he made a harp large enough to hide the girl. He then traveled as a poor harp player carrying the harp containing the girl.

They arrived at Spangereid at Lindesnes in Norway, where they stayed for the night in the house of the peasants Áke and Grima. Áke believed the harp contained valuable items and told his wife Grima. Grima then convinced him to murder Heimer as he was sleeping. However, when they broke the harp open, they discovered a little girl, whom they raised as their own, calling her Kráka (“Crow”). In order to hide her beauty, they rubbed her in tar and dressed her in a long hood.

However, once as she was bathing, she was discovered by some of the men of the legendary king Ragnar Lodbrok. Entranced by Kráka’s beauty, they allowed the bread they were baking to burn when Ragnar inquired about this mishap, they told him about the girl. Ragnar then sent for her, but in order to test her wits, he commanded her to arrive neither dressed nor undressed, neither fasting nor eating, and neither alone nor in company. Kráka arrived dressed in a net, biting an onion, and with only a dog as a companion. Impressed by her ingenuity and finding her a wise companion, Ragnar proposed marriage to her, which she refused until he had accomplished his mission in Norway. She gave him five sons: Ivar the Boneless Björn Ironside Hvitserk Rognvald and Sigurd Snake-in-the-Eye.

Sons of Ragnar, an intregal part of history

Ragnar is said to have up to eleven sons. However, the three sons that were an integral part of history (not sagas) were Halfdan , Inwaer (Ivar the Boneless) , and Hubba (Ubbe) . These three brothers, according to medieval sources, led a army know as the “ Great Heathen Army, ” in an invasion against the English at East Anglia in 865. It is said that they sought to avenge their fathers death who had been captured executed earlier by King Aella of Northumbria .


(Spoilers) Ragnar

Do you think the show will end with his death or do you think it will keep going on without him?

Well. technically, in the final Saga written about him, he dies quite painfully. His parting words were something to the tune of "My how the young pigs would squeal if they knew the suffering of the old boar". The "pigs", being a non-insulting euphemism for his sons.

Remember that snake pit King Aella had dug? I'll let you draw the conclusions from there. I don't however, think that the show will abruptly end with his death. I think that it will start a timer of sorts though. Heɽ most likely die in a mid season finale, and the rest of the season would be wrapped up with revenge and blood.

Aella says that, not Ragnar

The show surely will go on. The sons have even more awesome tales to tell if I remember correctly.

Like giving Aella a blood eagle for what he does to Ragnar.

Michael Hirst said the original plan for Season 1 was to kill off Ragnar and have Season 2 time-jump and be about his children carrying on his legacy and he said that he thinks Vikings can definitely carry on without Ragnar and have future seasons be about his sons and their journeys because much like their dad, they too have accomplished a lot and he really wants to do that. My personal opinion is that.. if Ragnar doesn't die in S3, he will in S4.

According to the "Death Song of Ragnar Lothbrok" (Krákumál), Ragnar's final words were: "The days of my life are ended. I laugh as I die."

A popular translation of the whole piece is:

It gladdens me to know that Balder's father [Odin] makes ready the benches for a banquet. Soon we shall be drinking ale from the curved horns. The champion who comes into Odin’s dwelling does not lament his death. I shall not enter his hall with words of fear upon my lips. The Æsir will welcome me. Death comes without lamenting. Eager am I to depart. The Dísir summon me home, those whom Odin sends for me from the halls of the Lord of Hosts. Gladly shall I drink ale in the high-seat with the Æsir. The days of my life are ended. I laugh as I die.

The actual passage goes a bit more like this:

We hewed with the brand! Great was our courage when fierce Herraudr, 'mid his winged steeds, died. No jarl more fearless sent his framing coursers oɾr the main His stout heart drove him, fearless, by the sea-fowls' haunt. We hewed with the brand! The brand bit sore at Scarpa-reef Scarborough , the sword flew from its sheath, Crimson the borders of our moon-shields when King Raven died Loud roared the spear on Ulla's field, as low lay Eystan the King. We hewed with the brand! Oɾr us was fated Herthiof to win a mighty victory, There fell my son, bold Rognvald, before the host of spears. His bow, unerring, shot in Sudorey Hebrides its last fatal bolt. We hewed with the brand! In Ireland King Marstan let not the she-wolf nor the eagle starve. A sacrifice he made at Wetherford Waterford , for the steel-thorn issuing from its sheath, Pierced to the heart of Ragnar, fearless son of mine. We hewed with the brand! South we played at war with three kings, the blood of the Irish dyed the sea, Then stormed we to the sword-play at the river-mouth of Anglesey, No kissing of a girl was it to fight as we fought there. We hewed with the brand! Little did I wot that at the hands of Ella my death should come! Yet what boots it? None can withstand his fate and well is it To quaff the mead in skull-boughs drinking horns in the great hall of Odin. We hewed with the brand! Before cold death does no brave man quail no thought of fear have I. Soon with the battle wake when Aslaug's sons their bitter blades unsheath, Soon will they learn the manner of my death, stout hearts of their brave mother! We hewed with the brand! My life is well-nigh oɾr sharp is the pang that the serpent gives. Goinn the Snake, nests deep in my heart. No more will my children rest Great wrath will be theirs at the undoing of their sire. We hewed with the brand! Full gladly do I go! See the Valkyrjar fresh from Odin's halls! High-seated among heroes shall I quaff the yellow-mead. The Aesir welcome me. Laughing gladly do I die!

In any event, the passage was written some three or four centuries after Ragnar's death, but it's a pretty awesome tradition in any form.


Watch the video: Krákumál: Ragnar Lothbroks Last Words? (August 2022).