#Krakis

[vantabats]

Long 🌅

[gawrkin]

I was today years old when I remembered that Beowulf, Hrolf Kraki, some of the Irish King cycle characters and Dietrich von Bern (Theodoric the Great) all lived together during the reign of King Arthur.

500 A.D./Early 6th Century was a wild time.

[krakivt]

vivian fans we won!!

[countlessofvoids]

Just killed King Hrólf Kraki, took me 5 tries (Give me no mercy mode). Not as hard as Sigrun but still had me stressing.

And now I'm bitter that I didn't record it because in the last attempt I didn't take any damage.

I don't doubt he will beat my ass in New Game+

[arcanigenum]

Open RP with Kraki!

In the split of a second, a hole opened up in the middle of the air with a bright flash and a gust of wind. A small creature that could have been a child shot out of it and rolled on the ground into YOUR MUSE. The hole had already closed.

Kraki scrambled to his feet. In the same moment he noticed it wasn't a wall he had hit but something that moved he screamed out loud. Quickly, he bounced backwards to a safer distance and pulled out a knife, kept his body low to the ground. The already big eyes were widened in a stare, the ears pinned back.

If the person had thought he was a human child at first, it was obvious now that he at least wasn't human. Not to mention the clothes he wore could've been taken directly from some kind of post-apocalyptic movie at first glance, made up by smaller pieces of leather. However, if you looked closely, they were clearly made with a design in mind and had intricate patterns and details.

[magiccrafter-artz]

Zappy fam

[broomsick]

List of interesting ressources pertaining to norse paganism, scandinavian folklore and history, and nordic religions in general

These are sources I have personally used in the context of my research, and which I've enjoyed and found useful. Please don’t mind if I missed this or that ressource, as for this post, I focused solely on my own preferences when it comes to research. I may add on to this list via reblog if other interesting sources come to my mind after this has been posted. Good luck on your research! And as always, my question box is open if you have any questions pertaining to my experiences and thoughts on paganism.

Mythology

The Viking Spirit: An Introduction to Norse Mythology and Religion

Dictionnary of Northern Mythology

The Prose and Poetic Eddas (online)

Grottasöngr: The Song of Grotti (online)

The Poetic Edda: Stories of the Norse Gods and Heroes

The Wanderer's Hávamál

The Song of Beowulf

Rauðúlfs Þáttr

The Penguin Book of Norse Myths: Gods of the Vikings (Kevin Crossley-Holland's are my favorite retellings)

Myths of the Norsemen From the Eddas and the Sagas (online) A source that's as old as the world, but still very complete and an interesting read.

The Elder Eddas of Saemung Sigfusson

Pocket Hávamál

Myths of the Pagan North: Gods of the Norsemen

Lore of the Vanir: A Brief Overview of the Vanir Gods

Anglo-Saxon and Norse Poems

Gods of the Ancient Northmen

Gods of the Ancient Northmen (online)

Two Icelandic Stories: Hreiðars Þáttr and Orms Þáttr

Two Icelandic Stories: Hreiðars Þáttr and Orms Þáttr (online)

Sagas

Two Sagas of Mythical Heroes: Hervor and Heidrek & Hrólf Kraki and His Champions (compiling the Hervarar saga ok Heiðreks and the Hrólfs saga kraka)

Icelandic Saga Database (website)

The Saga of the Jómsvíkings

The Heimskringla or the Chronicle of the Kings of Norway (online)

Stories and Ballads of the Far Past: Icelandic and Faroese

Heimskringla: History of the Kings of Norway

The Saga of the Volsungs: With the Saga of Ragnar Lothbrok

The Saga of the Volsungs (online) Interesting analysis, but this is another pretty old source.

The Story of the Volsungs (online) Morris and Magnusson translation

The Vinland Sagas

Hákon the Good's Saga (online)

History of religious practices

The Viking Way: Magic and Mind in Late Iron Age Scandinavia

Nordic Religions in the Viking Age

Agricola and Germania Tacitus' account of religion in nordic countries

Myths and Symbols in Pagan Europe: Early Scandinavian and Celtic Religions

Tacitus on Germany (online)

Scandinavia and the Viking Age

Viking Age Iceland

Landnámabók: Book of the Settlement of Iceland (online)

The Age of the Vikings

Gesta Danorum: The Danish History (Books I-IX)

The Sea Wolves: a History of the Vikings

The Viking World

Guta Lag: The Law of the Gotlanders (online)

The Pre-Christian Religions of the North This is a four-volume series I haven't read yet, but that I wish to acquire soon! It's the next research read I have planned.

Old Norse Folklore: Tradition, Innovation, and Performance in Medieval Scandinavia

Children of Ash and Elm: A History of the Vikings

The Penguin Historical Atlas of the Vikings by John Haywood

Landnámabók: Viking Settlers and Their Customs in Iceland

Nordic Tales: Folktales from Norway, Sweden, Finland, Iceland and Denmark For a little literary break from all the serious research! The stories are told in a way that can sometimes get repetitive, but it makes it easier to notice recurring patterns and themes within Scandinavian oral tradition.

Old Norse-Icelandic Literature: A Short Introduction

Saga Form, Oral Prehistory, and the Icelandic Social Context

An Early Meal: A Viking Age Cookbook and Culinary Oddyssey

Runes & Old Norse language

Uppland region runestones and their translations

Viking Language 1: Learn Old Norse, Runes, and Icelandic Sagas and Viking Language 2: The Old Norse Reader

Catalogue of the Manks Crosses with Runic Inscriptions

Old Norse - Old Icelandic: Concise Introduction to the Language of the Sagas

A Companion to Old Norse-Icelandic Literature and Culture

Nordic Runes: Understanding, Casting, and Interpreting the Ancient Viking Oracle 

YouTube channels

Ocean Keltoi

Arith Härger

Old Halfdan

Jackson Crawford

Wolf the Red

Sigurboði Grétarsson

Grimfrost

(Reminder! The channel "The Wisdom of Odin", aka Jacob Toddson, is a known supporter of pseudo scientific theories and of the AFA, a folkist and white-supremacist organization, and he's been known to hold cult-like, dangerous rituals, as well as to use his UPG as truth and to ask for his followers to provide money for his building some kind of "real life viking hall", as supposedly asked to him by Óðinn himself. A source to avoid. But more on that here.)

Websites

The Troth

Norse Mythology for Smart People

Voluspa.org

Icelandic Saga Database

Skaldic Project

Life in Norway This is more of a tourist's ressources, but I find they publish loads of fascinating articles pertaining to Norway's history and its traditions.

[baeddel]

thoughts i've had while reading the Foucault biography by David Macey:

(1) Foucault was a bourgeois and his entry into the elite higher educational institutions involved a number of processes that were designed very specifically to select for the children of bourgeois, in a way that reminds me a lot of the recent post by gothhabiba (click). one example which particular concerns philosophy is that entering the highly competiitve ENS would require knowledge of philosophy (Kant etc.), which was only taught to highschool students at the fee-charging lycees. further, philosophy was taught at lycees by ENS graduates, who may also be on the comittee that selects ENS applicants. this—along with a few direct interventions of actual nepotism—is how Foucault got there in the first place, because some (FAMOUS) men (like Jean Hyppolite!) met him as a child and decided he was 'very intelligent'. the same story repeats when Foucault gets his first few academic posts, with recognizable names balancing the scales for him. this does not seem to be something special but rather how all applications were judged and posts filled. there is a more subtle example for which analysis would be possible, but the book doesn't offer enough information, which is in the explicit discussion about how the topics for the oral agregation (necessary for graduation) should be selected. Macey concludes the section by saying that "[t]he 1951 agrégation [when Foucault graduated] had been a ‘Malthusian’ process of elimination: fourteen candidates were successful, and five of them were normaliens [ENS students]."

(2) throughout his youth into his late 20s (ie. the part i've read so far), Foucault seems to only ever—with the exception of patients and prisoners he met at the clinic when he worked there—interact with other members of the French elite. even in the communist party he attends a special ENS chapter and so forth. this may simply be because only famous men leave information to posterity, so we know less about Foucault's non-elite associations, or even that Macey just has nothing to say about those relationships, but it is quite striking. the same is not true of Deleuze per François Dosse's dual biography of Deleuze & Guattari (i mean anyway we talk about him in the same breath as Guattari who was not part of this system at all).

(3) he loved serialist music and had a live-in romantic relationship with a serialist composer named Jean Barraqué who was taught by Oliver Messaien. isn't that cool? they would go drinking between classes, just like we did when we studied serialism... haah...

(4) the biography skips around in time quite a bit; when Foucault first meets someone who will become important to his life we get a sort of summary of their whole relationship in rapid diegesis which will reoccur in a slower, although still diegetic, pace later in the book. this reminds me a lot of the way the Norse Sagas are written; in his excellent introduction to the Saga of Hrolf Kraki, Jesse Byock remarks that the author makes clear that he is compiling fragmentary sources by "telling the audience when one sub-tale ends and another begins: ‘Here ends the tale of Frodi and now begins the story of Hroar and Helgi, the sons of Halfdan.’" the biography of course also does this by explicitly mentioning, either in the text or in a footnote, which sources (books, interviews, letters, personal correspondences) the story is compiled from. when i thought about the Sagas i had thought of it as producing a very strange literary effect, almost like a Brechtian distancing effect, freely dispensing of suspense to remind the reader of the structural components of the narrative, and i have written some stories which try to perform this idea. however, now i realize that we still do this quite often, only in that peculiar form of literature called the biography, where it appears quite natural and doesn't surprise the reader. i think one explanation for the strangeness in the Sagas is that the Sagas are primarily in mimesis, and the sudden episodes of diegesis during which the story and the plot become momentarily disimbricated are surprising to a modern reader.

(5) Foucault suffers a bitter quarrel with another gay man named Jean-Paul Aron he was previously friends with which they would never rapproach. the reason for this quarrel is, according to Macey, because "one of Aron’s young lovers fled and took refuge with Foucault." Macey discusses this entirely in terms of "sexual jealousy" and "envy"—i suppose Macey is heterosexual because oh my god. doesn't that sound like such a familliar story to us... the guy had to run away from his partner and go and live with someone else over it... and it caused scene drama for the rest of their lives... what was going on there?

(6) in discussing the homophobia of the official French Communist Party to which Foucault belonged until 1953 (which was explicitly homophobic) the principal example which Macey chooses is a case where they expelled a highschool teacher for propositioning a pupil. for Macey this seems to only have the dimension of homosexuality, and neither the power dynamics of teacher and pupil nor the fact that the pupil was presumably a child are mentioned at all. this biography was written in 1993. it made me think immediately of a number of other instances of an adult man having or attempting a sexual interaction with an underaged boy, being penalized or imprisoned in some way, and the response of, essentially, the legitimate gay movement was to call it homophobic. i don't remember his name, but there was one composer, i think an American, in the 40s or 50s, who was imprisoned for sleeping with a 17 year old boy, and people came to his defense and considered the prosecution homophobic; similarly this highly sympathetic article (click) on the GLBT Encyclopedia Project about NAMBLA (who's periodical Delany used to read and recommend, something which he gets and still responds to emails about today), which opens with mention of "a successful effort on the part of gay activists to thwart a move by then-Boston District Attorney Garret Byrne to ferret out patrons of teenage male prostitutes via an anonymous telephone tip line", paints a picture where NAMBLA were relatively mainstream until the mid-80s. while i suspect this article of being at least a little apologetic it does also talk about gay organizing around changing age of consent laws & a line on how unequal enforcement of the age of consent was a tool to enforce homophobia, listing some impressive names who engaged in this kind of activism like Kate Millet and Gayle Rubin. and we also have, very infamously, Foucault's own advocacy on precisely the same thing, around the time of the petition, signed by Foucault and virtually every other French radical intellectual, to abolish the age of consent.

what do you think? from here doesn't it all look like a catastrophic blunder, something we're ashamed to remember and frightened to talk about? even when we're coming from an anti-carcereal, reparative, critical kind of perspective, something about the kind of narratives, defenses and advocacy from back then on such issues leaves us feeling alienated. i tend to think of it like this: that there was a historical situation where 1. all forms of homosexuality were illegal, 2. homosexuality was primarily understood in society, by both the right and left, as a kind of pedophilia, and 3. the concept of the age of consent was being redefined, socially and legally, at that time. this third point is specifically what Foucault was discussing in that interview, but i was interested to see the same point come up in a Defunctland video (click)(!), because—get this—one of the songs performed by Disney's in-house rock band Halyx was called 'Jailbait', and he asks the writer about it. on relistening to the song she immediately laughs in embarassment and says "please! what was i thinking back then!" and she has to basically do her own kind of historical-juridicial-philological analysis to attempt an explanation (timestamp), saying that they had "just done this thing saying that if you're over 18..." and so forth. her song by that title was performed by a female singer, and watching the performance i got the feeling that the intention was sort of twofold; in the first case, to exploit the imaginary erotic power of forbidden love ("i want you, baby / but you're jailbait"), and, in the context of a live performance, make the teenage boys in the audience feel wanted. i am not sure if the same effect is intended in Motorhead's song by that title ("i don't even dare to ask your age"). by the 90s you didn't get songs like this anymore; Boogie Down Productions' '13 and Good' is both condemnatory and paranoid and explicitly names it "statutory rape."

this isn't really a good thread of argument; i am not comparing like evidence. and i'd like to investigate contrary examples from that period—the documentary on NAMBLA Chickenhawk for example shows lesbian groups attacking NAMBLA members at demonstrations, and Andrea Dworkin was famously critical of NAMBLA—but i am anyway kind of interpreting Macey's framing as a 'pagan survival' of an older approach to these issues when they arose in a very different polemical context.

[haljathefangirlcat]

My dealer: got some straight gas 🔥😛 this strain is called “Beowulf” 😳 you’ll be zonked out of your gourd 💯

Me: yeah whatever. I don’t feel shit.

literal years later, when I least expected it: dude I swear I just saw Cain's spawn lurking in the fens

My buddy the narrator pacing: Hrothulf is plotting against his uncle

The thing about Beowulf is... I never quite got the hype about it. (Yes, we're not Supposed to use words like "hype" about world literature Classics, especially from ancient times, or to make light of them in general. Shut up and contemplate the fact that social media posts expressing nothing more than personal opinions and feelings aren't generally meant to be the same thing as academic work to be shared between academians in an academic context.) Ofc, I understood its historical value, including in terms of linguistics and philology. But in terms of "would I pick this as reading material to obsess and fall into a research hole over"? Despite trying a few times, I never quite got past ALL the references to God every other line. ("Snorri was an Evil Zealot who set out to knowingly and purposefully Christianize Norse mythology For The Evulz" crowd, I will tattoo each and every single one of those all over your body so you can't look into a mirror without accidentally reading one ever again.) The apparently disjointed "Beowulf fights Grendel and then Grendel's mother in Denmark. Years later, after going back to Sweden and becoming king, he also fights a dragon but this time he dies" narrative didn't really appeal to me, either. Nor did the presence of (afaik) exactly one (1) named female character. (Wealhtheow, babe, in hindsight I'm so sorry.)

I'm not sure what changed, exactly. It's just that, some time ago, I finally got around to reading Grendel by John Gardner, and I loved it and thought "wow, this would have made me either bawl my eyes out or stare off into space for like five-to-ten minutes after finishing it, had I read it as a teen." And after that, I found myself thinking "well, now I should probably get to know know the original story," and finally picking up my copy of Tolkien's translation of Beowulf, and realzing there actually was a lot going on in the story, and getting way too engaged in the looming "Hrothulf kills Hrothgar's kids" subplot that doesn't even really resurface in any later material about Hrolf Kraki (though those aren't exactly free from fucked-up family dynamics, either...), and going "!!! Volsungar mention!!!!" at the bit about Sigemund and Fitela despite already knowing about the Sigemund and Fitela bit and the whole "who actually killed the dragon first/in which tradition" question, and losing my mind at the bit about Hama and the "necklace of the Brosings" and "Eormanaric's hate" because, yeah, I already knew about that one, too, kind of, but recently I've gone into a little bit of a Brisingamen deep-dive, and a while ago I read a really interesting commentary and translation of the Hildebrandslied that had quite a lot to say not just about the specific hatred/enmity of a powerful king for an adventurous hero but also about the shift from Odoacher to Ermanric as Dietrich' von Bern's enemy, which ofc (?) got me thinking about Eormanaric/Ermanric/Jormunrek's apparent widespread reputation for being an asshole, something there probably has to be some accessible paper in English about somewhere out there...

Ahem. Anyway, I also found myself alternating reading Tolkien's translation with watching Grendel Grendel Grendel, the weird and very simplified and toned down but still somehow very enjoyable and sad kids' movie adaptation of Gardner's Grendel. And Beowulf & Grendel, the one without any magic where Grendel's a traumatized Neanderthal on a quest of vengeance that's somehow also quite a good watch despite the wonky editing, the cast and crew being possibly cursed by the Norse gods, and ofc, the time-displaced Neanderthals. And Animated Epics: Beowulf, which I might have actually watched once as a child, thinking about it. And Simon Roper and Jackson Crawford's read-along, featuring interesting linguistic, literary, and historical notes as well as Australian!Hrothgar, Beowulf making it exceedingly clear that "some of my best friends are Danes!", and some unforgettable exchanges such as "I used to tell my students the story about that time I almost drove off a cliff when they were worried about their exams to make them undestand that I, too, had experienced the fear of death :|" "I'm glad you didn't perish :)" "Thanks. :|" (I'm on the Fits 8-11 video, btw. Even if, when it comes to Tolkien's translation, I'm already at the part where Beowulf says goodbye to Hrothgar and sails back to the land of the Geats. Look, I remebered thos videos existed somewhat belatedly.)

I think eventually I might also end up rewatching The 13th Warrior (which I'm gonna go out on a limb and say might be the true origin of the ahistorical Neanderthals in Beowulf & Gredenl, but I remember liking that one, too). And Outlander (my beloved "aliens crash-land in Viking Age Scandinavia and fight each other while being Sad & Tragic in their own ways" one, not the Scottish one) but specifically as a Beowulf reimagining this time around (rather than as "the movie that could have totally had the Brooding Hero, Fiery But Sweet Warrior Woman, and Hotheaded Rival-Turned-Friend invent modern polyamory, because that wouldn't have been weirder than having a character called Boromir" like every other time). Maybe that weird post-apocalyptic Beowulf that was the first to do the "Grendel's mom's got it goin' on" thing, too, at least if I can find that snarky review of it on Youtube again. Probably not the Uncanny CGI Desperately Trying To Be Live-Action 20O5 Beowulf where the titular hero keeps screaming "BEOWULF!!" and "I'M BEOWULF!!!" just in case the audience's intelligence levels can't be considered to be above the average rock's, and that also decided to add a foot fetish/body paint kink note to its cover of Grendel's Mom, though, unless I can find any snarky review of it. (I remember reading somewhere that the director actually hated Beowulf, as in the poem itself, and accepting the bit of info without question. The high heels-shaped feet are just one of the reasons why I wonder if anyone ever asked him if perhaps he hated women, too. At least his work supposedly contributed to the writers of Outlander being told "there's already too many Beowulf movies coming out!" and going "whatever, we're gong to do our own thing! With blackjack and hookers aliens and shieldmaidens", so I should probably thank him for that.)

Unfortunately, while I'm pretty sure I'll be able to avoid writing down a list of Adaptations I Absolutely Need To Check Out One Day Or I'll Die (i.e. Every Single I've Ever Heard About) like I did for The Nibelungs In Their Every Possible Form, all of this had the unforeseen side effect of reminding me that, even when I didn't have much if any interest in Beowulf, I used to have a bit of soft spot for Unferth. I mean, how could I not, when I imprinted on Hagen von Tronje when I was eleven-years-old? Give me a guy who knows all of The Hero's heroic deeds and still doesn't find him all that impressive from their very first meeting, and I'll just "👀" at him. Though from what I knew, this guy in particular seemed to go against his character type by becoming more friendly with the hero and lending him his ancestral sword, which seemed pretty interesting. Especially because he was apparently a fratricide, too? And you wouldn't expect a guy who killed his own brothers and got a "... and that's why you'll go to Hell!" by The Hero over it to have any kind of redemption arc/sudden reveal of hidden depths in any positive sense. And there was also that paper (which, ofc, I didn't bookmark at the time, and now I want to kick myself for that until I remember the title or at least the author...) arguing that maybe him telling off Beowulf about the swimming race was less about him as a person and more about him having a specifc role among the thanes in Heorot that included testing strangers requesting to speak with Hrothgar to figure out if they really were who they claimed to be or if they could actually live up to their reputation...

Again, I blame John Gardner, at least in part. He has a really crunchy Unferth, who definitely reawakened my interest in the character. The on in Grendel Grendel Grendel wasn't half-bad, either, though very different in some respects. But the original, too, ended up being actually so much more fun (meaning, so much more to chew on/rotate in my mind) than I could have imagined from my vague memories.

First you've got the iconic "didn't you look like a total loser against Breca, and isn't that literally all there is to know about you?" "shut up, you're drunk, a kinslayer, someone I have never heard anyone tell heroic tales about, and also, maybe if you were braver Grendel wouldn't keep eating you guys" banter, and I'm starting to realize that might be already more juicy, in terms of both Beowulf's and Unferth's characterizations and their interactions together, than I ever thought it was. Then you've got a line that sounds an awful lot like "everyone could see Grendel's severed arm hanging from the ceiling and that shut Unferth up" and seems to imply some sort of lingering bitterness on Unferth's side when Heorot is in the middle of the celebrations for Grendel's death. But then Unferth actually starts being described in much more favorable terms, almost as if the narrator were pointing out that, despite what the audience might think after his first appearance, there's a reason he's close to Hrothgar and has a good place in his hall... even if at the same time Unferth's praised for his "mighty heart" (something quite different from cowardice), wisdom, and the trust everyone in Heorot apparently has in his mind, there's actually another reference to him having had no mercy for his relatives "in the play of swords" in the past. (Fun little detail: that line comes right after one to the effect of "Hrothgar and Hrothulf were there and no betrayal had yet happened between them"...)

Until, finally, you get Beowulf preparing to go fight Grendel's mother and Unferth giving him his family's swords, Hrunting. And all kinds of entertaining things happen in relation to Hrunting.

You've got Unferth not remembering his first words to Beowulf because he was just really, really, really drunk when he said them, which seems to go well with Beowulf himself calling out his speech as a drunken boast but not with the "that shut him up" line I mentioned before. (Which leads me to wonder: was he actually too drunk to know what he was saying? Or did Beowulf give him an easy out in case he regretted it, which Unferth eventually chose to take to try and smooth things over?) You've got Unferth being "mighty of valour" yet not daring to go after Grendel's mother himself and "forfeiting glory" while giving his weapon to a "worthier" warrior, but his sword getting some lengthy praise nonetheless, to the point of being basically deemed infallible, and Beowulf not only not making any more comments on Unferth's supposed lack of bravery but calling him a man of "wide renown", praising his sword some more, vowing to succeed in his heroic feat with Hrunting or die trying, and telling Hrothgar that no matter what happens, Unferth must get it back when it's all over. And after that... you've got Hrunting utterly failing to kill or even harm Grendel's mother.

Except, that's literally the first time it ever fails at anything? And Beowulf can only kill Grendel's mother when, with the help of God, he finds a magical sword forged by giants, which implies there was no problem with it (and, by extension, with Unferth?) as the whole situation simply needed a little something extra to be dealt with?

Then, you've got Beowulf actually bringing Hrunting back, even if it wasn't much use to him when it really mattered. And praising it again, making sure to publicly clarify, while addressing Hrothgar himself, that no, it really is an excellent sword. And, after some more "the monster is dead!" celebration, Unferth himself (unambiguously "bold", now) having the sword brought over again not just to lend it Beowulf, but to gift it to him.... a weapon that is both nothing to sneeze at and, as Beowulf himself has acknowledged while praising it, a family heirloom. (From a guy who probably already has enough complicated feelings about his family without running around giving that kind of stuff away, to boot!) One Beowulf accepts once more, and gladly, already figuring it will be "a good friend in war, a power in battle" and saying absolutely nothing bad about it (the narrator goes "oh he's so gallant!" at him after that bit, which is admittedly kind of hilarious in itself, but still, imho, not really much to go on if you want to think he's not being sincere) right before he announces his intentions to sail back home.

I'm gonna be honest: I had already read most fics tagged Beowulf/Unferth on AO3 before this Beowulf binge. And now, I've gone and reread them. I've actually read the ones I'd missed the first time around, too. Not that it took me much time at all, but still. WildandWhirling has two really lovely ones. This innuendo-heavy one is a delight to read, too.

I think I might end up writing at least one more. Maybe canon!verse, if I manage not to spiral into researching Old English attitudes to homosexuality, or maybe Modern!AU, if I manage to find a good way to transliterate "sailing off to another country to slay monsters" in this century in a convincing way. Even just to have more than six works in the tag itself. But we'll see...

I suppose, in the end, the whole point of this random, almost stream-of-consciousness post (besides freeing up my head from at least some of my recent Beowulf thoughts) might have turned out to be just that, no matter who they are, fangirls will, indeed, always make them gay. (... I say, as if this was a surprise and I didn't already ship a number Nibelungenlied-and-adjacent gay ships I got into way before any of this.) It wasn't its original purpose but *shrug* I'll take it.

Then again... come on. All that talking about swords. *grin*

[vantabats]

Pact 💫

[delightfulshrimp]

Was just doing my usual stuff and randomly remembered this idea I had for squid Animal Crossing villagers since we have octopuses, the first three where already ones I made in the past but the rest are all new.

Top Row: [Males]

Squirt - Lazy - "Splat!"

Gooper - Cranky - "Bloop"

Inky - Lazy - "Tap Tap!"

Drac - Smug - "Bleh"

Biggs - Jock - "Arr!"

Bottom Row: [Females]

Summer - Big Sister -"Hang ten!"

Kraky - Snooty - "Grr"

Bubbles - Peppy - "Pop!"

Cala - Normal - "Sss!"

Old concept art for the first three squids, Squirt, Gooper and Inky.

[krakivt]

i'm challenging myself to draw EVERY water pokemon and whiscash was first! wish me luck everyone! 🌊✨

[astingjessphelps]

the kraken

The Kraken is a legendary sea monster from Scandinavian folklore, particularly in Norwegian and Icelandic traditions. While there isn't a specific "folklaw" related to the Kraken, there are many myths and tales that describe this fearsome creature. Here are some key elements of the Kraken legend:

Appearance: The Kraken is often described as a massive sea creature with enormous tentacles. It is said to be so large that it can surface from the depths of the ocean and drag entire ships and their crews beneath the waves. Habitat: The Kraken is believed to dwell in the deep, dark waters of the North Atlantic Ocean, particularly off the coasts of Norway and Iceland. It's known for lurking in the treacherous waters of the Nordic seas. Destruction: The Kraken is said to cause chaos and destruction at sea. It can be summoned by storms or other natural disasters, and its appearance is often considered a bad omen for sailors Origin: The word "Kraken" is thought to have originated from the Old Norse word "kraki," which means "an unhealthy animal" or "twisted." The legend of the Kraken has roots in Norse mythology and may have been influenced by sightings of real marine creatures, such as giant squids Literary References: The Kraken has appeared in various works of literature, including Jules Verne's "20,000 Leagues Under the Sea" and Tennyson's poem "The Kraken." These references have contributed to the enduring popularity of the Kraken in modern culture. Folklore Variations: Different regions have their own variations of sea monster legends, some of which are similar to the Kraken. In some stories, the Kraken is more serpent-like, while in others, it is more like a giant octopus or squid.

While there isn't a specific "folklaw" associated with the Kraken, it has remained a prominent figure in seafaring folklore and continues to capture the imagination as a symbol of the mysterious and dangerous depths of the ocean.

[arcanigenum]

i have to dig up my old conlang documents to write kraki. and everything else related to the ealvi.

[legend-collection]

Kraken

The kraken is a legendary sea monster of enormous size said to appear off the coasts of Norway.

Kraken, the subject of sailors' superstitions and mythos, was first described in the modern age at the turn of the 18th century, in a travelogue by Francesco Negri in 1700. This description was followed in 1734 by an account from Dano-Norwegian missionary and explorer Hans Egede, who described the kraken in detail and equated it with the hafgufa of medieval lore.

However, the first description of the creature is usually credited to the Norwegian bishop, Pontoppidan (1753). Pontoppidan was the first to describe the kraken as an octopus (polypus) of tremendous size, and wrote that it had a reputation for pulling down ships. The French malacologist, Denys-Montfort, of the 19th century is also known for his pioneering inquiries into the existence of gigantic octopuses.

The great man-killing octopus entered French fiction when novelist Victor Hugo (1866) introduced the pieuvre octopus of Guernsey lore, which he identified with the kraken of legend. This led to Jules Verne's depiction of the kraken, although Verne did not distinguish between squid and octopus.

The legend of the Kraken may have originated from sightings of giant squid, which may grow to 12–15 m (40–50 feet) in length.

The English word "kraken" (in the sense of sea monster) derives from Norwegian kraken or krakjen, which are the definite forms of krake.

According to a Norwegian dictionary, krake, in the sense of "malformed or crooked tree" originates from Old Norse kraki, meaning "pole, stake". And krake in the sense of "sea monster" or "octopus" may share the same etymology. Swedish krake for "sea monster" is also traced to krake meaning "pole".

However, Finnur Jónsson remarked that the krake also signified a grapnel (dregg) or anchor, which readily conjured up the image of a cephalopod. He also explained the synonym of krake, namely horv was an alternate form of harv 'harrow' and conjectured that this name was suggested by the inkfish's action of seeming to plow the sea.

Shetlandic krekin for "whale", a taboo word, is listed as etymologically related.

Some of the synonyms of krake given by Erik Pontoppidan were, in Danish: søe-krake, kraxe, horv, krabbe, søe-horv, anker-trold.

The form krabbe also suggests an etymological root cognate with the German verb krabbeln 'to crawl".

The first description of the krake as "sciu-crak" was given by Italian writer Negri in Viaggio settentrionale (Padua, 1700), a travelogue about Scandinavia. The book describes the sciu-crak as a massive "fish" which was many-horned or many-armed. The author also distinguished this from a sea-serpent.

The kraken was described as a many-headed and clawed creature by Egede (1741), who stated it was equivalent to the Icelanders' hafgufa, but the latter is commonly treated as a fabulous whale. Erik Pontoppidan (1753) who popularized the kraken to the world noted that it was multiple-armed according to lore, and conjectured it to be a giant sea-crab, starfish or a polypus (octopus). Still, the bishop is considered to have been instrumental in sparking interest for the kraken in the English-speaking world, as well as becoming regarded as the authority on sea-serpents and krakens.

Although it has been stated that the kraken (Norwegian: krake) was "described for the first time by that name" in the writings of Erik Pontoppidan, bishop of Bergen, in his Det første Forsøg paa Norges naturlige Historie "The First Attempt atNatural History of Norway" (1752–53), a German source qualified Pontoppidan to be the first source on kraken available to be read in the German language. A description of the kraken had been anticipated by Hans Egede.

Denys-Montfort (1801) published on two giants, the "colossal octopus" with the enduring image of it attacking a ship, and the "kraken octopod", deemed to be the largest organism in zoology. Denys-Montfort matched his "colossal" with Pliny's tale of the giant polypus that attacked ships-wrecked people, while making correspondence between his kraken and Pliny's monster called the arbor marina. Finnur Jónsson (1920) also favored identifying the kraken as an inkfish (squid/octopus) on etymological grounds.

The krake (English: kraken) was described by Hans Egede in his Det gamle Grønlands nye perlustration (1729; Ger. t. 1730; tr. Description of Greenland , 1745), drawing from the "fables" of his native region, the Nordlandene len of Norway, then under Danish rule.

According to his Norwegian informants, the kraken's body measured many miles in length, and when it surfaced it seemed to cover the whole sea, and "having many heads and a number of claws". With its claws it captured its prey, which included ships, men, fish, and animals, carrying its victims back into the depths.

Egede conjectured that the krake was equitable to the monster that the Icelanders call hafgufa, but as he has not obtained anything related to him through an informant, he had difficuty describing the latter.

According to the lore of Norwegian fishermen, they can mount upon the fish-attracting kraken as if it were a sand-bank (Fiske-Grund 'fishing shoal'), but if they ever had the misfortune to capture the kraken, getting it entangled on their hooks, the only way to avoid destruction was to pronounce its name to make it go back to its depths. Egede also wrote that the krake fell under the general category of "sea spectre" (Danish: søe-trold og [søe]-spøgelse), adding that "the Draw" (Danish: Drauen, definite form) was another being within that sea spectre classification.

Pontoppidan wrote of a possible specimen of the krake, "perhaps a young and careless one", which washed ashore and died at Alstahaug in 1680.[70][68] He observed that it had long "arms", and guessed that it must have been crawling like a snail/slug with the use of these "arms", but got lodged in the landscape during the process. 20th century malacologist Paul Bartsch conjectured this to have been a giant squid, as did literary scholar Finnur Jónsson.

However, what Pontoppidan actually stated regarding what creatures he regarded as candidates for the kraken is quite complicated.

Pontoppidan did tentatively identify the kraken to be a sort of giant crab, stating that the alias krabben best describes its characteristics.

However, further down in his writing, compares the creature to some creature(s) from Pliny, Book IX, Ch. 4: the sea-monster called arbor, with tree-branch like multiple arms, complicated by the fact that Pontoppidan adds another of Pliny's creature called rota with eight arms, and conflates them into one organism. Pontoppidan is suggesting this is an ancient example of kraken, as a modern commentator analyzes.

Pontoppidan then declared the kraken to be a type of polypus (octopus) or "starfish", particularly the kind Gesner called Stella Arborescens, later identifiable as one of the northerly ophiurids or possibly more specifically as one of the Gorgonocephalids or even the genus Gorgonocephalus (though no longer regarded as family/genus under order Ophiurida, but under Phrynophiurida in current taxonomy).

This ancient arbor (admixed rota and thus made eight-armed) seems an octopus at first blush but with additional data, the ophiurid starfish now appears bishop's preferential choice.

The ophiurid starfish seems further fortified when he notes that "starfish" called "Medusa's heads" (caput medusæ; pl. capita medusæ) are considered to be "the young of the great sea-krake" by local lore. Pontoppidan ventured the 'young krakens' may rather be the eggs (ova) of the starfish. Pontopiddan was satisfied that "Medusa's heads" was the same as the foregoing starfish (Stella arborensis of old), but "Medusa's heads" were something found ashore aplenty across Norway according to von Bergen, who thought it absurd these could be young "Kraken" since that would mean the seas would be full of (the adults). The "Medusa's heads" appear to be a Gorgonocephalid, with Gorgonocephalus spp. being tentatively suggested.

In the end though, Pontoppidan again appears ambivalent, stating "Polype, or Star-fish [belongs to] the whole genus of Kors-Trold ['cross troll'], .. some that are much larger, .. even the very largest.. of the ocean", and concluding that "this Krake must be of the Polypus kind". By "this Krake" here, he apparently meant in particular the giant polypus octopus of Carteia from Pliny, Book IX, Ch. 30 (though he only used the general nickname "ozaena" 'stinkard' for the octopus kind).

In 1802, the French malacologist Pierre Denys-Montfort recognized the existence of two "species" of giant octopuses in Histoire Naturelle Générale et Particulière des Mollusques, an encyclopedic description of mollusks.

The "colossal giant" was supposedly the same as Pliny's "monstrous polypus", which was a man-killer which ripped apart (Latin: distrahit) shipwrecked people and divers. Montfort accompanied his publication with an engraving representing the giant octopus poised to destroy a three-masted ship.

Whereas the "kraken octopus", was the most gigantic animal on the planet in the writer's estimation, dwarfing Pliny's "colossal octopus"/"monstrous polypus", and identified here as the aforementioned Pliny's monster, called the arbor marinus.

Montfort also listed additional wondrous fauna as identifiable with the kraken. There was Paullini's monstrum marinum glossed as a sea crab (German: Seekrabbe), which a later biologist has suggested to be one of the Hyas spp. It was also described as resembling Gesner's Cancer heracleoticus crab alleged to appear off the Finnish coast. von Bergen's "bellua marina omnium vastissima" (meaning 'vastest-of-all sea-beast'), namely the trolwal ('ogre whale', 'troll whale') of Northern Europe, and the Teufelwal ('devil whale') of the Germans follow in the list.

It is in his chapter on the "colossal octopus" that Montfort provides the contemporary eyewitness example of a group of sailors who encounter the giant off the coast of Angola, who afterwards deposited a pictorial commemoration of the event as a votive offering at St. Thomas's chapel in Saint-Malo, France. Based on that picture, Montfort drew a "colossal octopus" attacking a ship, and included the engraving in his book. However, an English author recapitulating Montfort's account of it attaches an illustration of it, which was captioned: "The Kraken supposed a sepia or cuttlefish", while attributing Montfort.

Hamilton's book was not alone in recontextualizing Montfort's ship-assaulting colossal octopus as a kraken, for instance, the piece on the "kraken" by American zoologist Packard.

The Frenchman Montfort used the obsolete scientific name Sepia octopodia but called it a pouple, which means "octopus" to this day; meanwhile the English-speaking naturalists had developed the convention of calling the octopus "eight-armed cuttle-fish", as did Packard and Hamilton, even though modern-day speakers are probably unfamiliar with that name.

Having accepting as fact that a colossal octopus was capable of dragging a ship down, Montfort made a more daring hypothesis. He attempted to blame colossal octopuses for the loss of ten warships under British control in 1782, including six captured French men-of-war. The disaster began with the distress signal fired by the captured ship of the line Ville de Paris which was then swallowed up by parting waves, and the other ships coming to aid shared the same fate. He proposed, by process of elimination, that such an event could only be accounted for as the work of many octopuses. But it has been pointed out the sinkings have simply been explained by the presence of a storm, and Montfort's involving octopuses as complicit has been characterized as "reckless falsity".

The Niagara sighting. 60-metre (200 ft) creature allegedly seen afloat in 1813, depicted as octopus by a naturalist

It has also been noted that Montfort once quipped to a friend, DeFrance: "If my entangled ship is accepted, I will make my 'colossal poulpe' overthrow a whole fleet".

The ship Niagara on course from Lisbon to New York in 1813 logged a sighting of a marine animal spotted afloat at sea. It was claimed to be 60 m (200 feet) in length, covered in shells, and had many birds alighted upon it.

Samuel Latham Mitchill reported this, and referencing Montfort's kraken, reproduced an illustration of it as an octopus.

As to the iconography, Denys-Montfort's engraving of the "colossal octopus" is often shown, though this differs from the kraken according to the French malacologist, and commentators are found characterizing the ship attack representing the "kraken octopod".

And after Denys-Monfort's illustration, various publishers produced similar illustrations depicting the kraken attacking a ship.

Whereas the kraken was described by Egede as having "many Heads and a Number of Claws", the creature is also depicted to have spikes or horns, at least in illustrations of creatures which commentators have conjectured to be krakens. The "bearded whale" shown on an early map is conjectured to be a kraken perhaps. Also, there was an alleged two-headed and horned monster that beached ashore in Dingle, Co. Kerry, Ireland, thought to be a giant cephalopod, of which there was a picture/painting made by the discoverer. He made a travelling show of his work on canvas, as introduced in a book on the kraken.

While Swedish writer Olaus Magnus did not use the term kraken, various sea-monsters were illustrated on his famous map, the Carta marina (1539). Modern writers have since tried to interpret various sea creatures illustrated as a portrayal of the kraken.

Olaus gives description of a whale with two elongated teeth ("like a boar's or elephant's tusk") to protect its huge eyes, which "sprouts horns", and although these are as hard as horn, they can be made supple also. But the tusked form was named "swine-whale", and the horned form "bearded whale" by Swiss naturalist Gesner, who observed it possessed a "starry beard" around the upper and lower jaws. At least one writer has suggested this might represent the kraken of Norwegian lore.

Another work commented less discerningly that Olaus's map is "replete with imagery of krakens and other monsters".

Ashton's Curious Creatures (1890) drew significantly from Olaus's work and even quoted the Swede's description of the horned whale. But he identified the kraken as a cephalopod and devoted much space on Pliny's and Olaus's descriptions of the giant "polypus", noting that Olaus had represented the kraken-polypus as a crayfish or lobster in his illustrations, and reproducing the images from both Olaus's book and his map. In Olaus book, the giant lobster illustration is uncaptioned, but appears right above the words "De Polypis (on the octopus)", which is the chapter heading. Hery Lee was also of the opinion that the multi-legged lobster was a misrepresentation of a reported cephalopod attack on a ship.

The legend in Olaus's map fails to clarify on the lobster-like monster "M", depicted off the island of Iona. However, the associated writing called the Auslegung adds that this section of the map extends from Ireland to the "Insula Fortunata". This "Fortunate Island" was a destination on St. Brendan's Voyage, one of whose adventures was the landing of the crew on an island-sized monstrous, as depicted in a 17th century engraving; and this monstrous fish, according to Bartholin was the aforementioned hafgufa, which has already been discussed above as one of the creatures of lore equated with kraken.

The piece of squid recovered by the French ship Alecton in 1861, discussed by Henry Lee in his chapter on the "Kraken", would later be identified as a giant squid, Architeuthis by A. E. Verrill.

After a specimen of the giant squid, Architeuthis, was discovered by Rev. Moses Harvey and published in science by Professor A. E. Verrill, commentators have remarked on this cephalopod as possibly explaining the legendary kraken.

An ancient, giant cephalopod resembling the legendary kraken has been proposed as responsible for the deaths of ichthyosaurs during the Triassic Period. This theory has met with severe criticism.

[444names]

Names generated from cheese names and types, the entire article on List of Cheeses from the English Wikipedia

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Same thing but greater order

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