Summary
Bragi instructs Ægir in poetic language. Kennings and heiti are presented with the stories behind them (Iðunn's apples, Suttungr's mead, Baldr's death, the Song of Grotti, etc.).
Sections
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1. Ægir's feast
The sea-god Ægir visits Ásgarðr and converses with the skald Bragi, who begins an instruction on the origin and structure of poetic language.
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2. Kvasir and the mead of poetry, part 1
From the peace between the Æsir and the Vanir the wise Kvasir is created from the gods' mingled saliva, but the dwarves Fjalarr and Galarr murder him and brew the mead of poetry from his blood.
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3. Suttungr and Hnitbjörg, part 2
The dwarves' killing of the giant Gillingr and his wife has grave consequences: the giant Suttungr demands the mead of poetry as wergild and hides it in the mountain Hnitbjörg under the guard of his daughter Gunnlöð.
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4. Odin retrieves the mead of poetry, part 3
Odin travels to Jotunheim, works for Suttungr's brother Baugi under a false name, bores through the mountain with the drill Rati, seduces Gunnlöð and drinks the three vessels dry, then flees in eagle form.
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5. The abduction of Iðunn
The giant Þjazi forces Loki to lure Iðunn and her apples of youth out of Ásgarðr, causing the gods to age; Loki retrieves her in falcon form, Þjazi pursues in eagle shape and is burned to death by a bonfire.
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6. Skaði's compensation
Þjazi's daughter Skaði arrives armed at Ásgarðr to avenge her father's death; the Æsir offer her a husband chosen by feet alone, and Loki draws forth her laughter with an inventive jest.
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7. Þórr and Hrungnir
The mighty giant Hrungnir challenges Þórr to single combat; in the duel Þórr hurls Mjölnir and Hrungnir hurls his whetstone, the hammer shatters the giant's stone head but a shard of the whetstone lodges in Þórr's forehead and the sorceress Gróa tries to sing it out.
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8. Þórr and Geirröðr
Loki, captured by the giant Geirröðr, promises to bring Þórr there without Mjölnir or his belt of strength; the giantess Gríðr gives Þórr a new belt, iron gloves, and a staff, and Þórr kills Geirröðr's daughters and finally the giant himself.
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9. Kennings for Odin
Bragi explains the mythological bases for Odin's many names and kennings: Alfaðir, Hangaguð, Herjafaðir, Yggr, and other epithets rooted in his deeds and sacrificial rites.
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10. Kennings for Þórr
The poetic designations for Þórr are explained: son of Odin, owner of Mjölnir and the belt of strength, slayer of Hrungnir, foe of the Miðgarðsormr, and the mythological basis for each kenning.
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11. Kennings for Baldr
The kennings for Baldr reflect his radiant nature and his fate: the shining one, Odin's son, Nanna's husband, and the god whose name cannot be invoked without recalling his tragic end.
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12. Kennings for Freyr and Freyja
The poetic names for Freyr and Freyja are explained through their Vanir lineage, their possessions, Freyr's connection to harvest and Freyja's to love and battle.
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13. Kennings for Heimdallr
Heimdallr's poetic designations illuminate his function as guardian at Bifröst, his sight and hearing that reach farthest of all the gods, his white appearance, and his ownership of Gjallarhorn.
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14. Kennings for Týr
The poetic designations for Týr are built on his sacrifice: he gave his hand when Fenrir was bound with Gleipnir, and his one-handedness is the basis for battle-kennings and his association with combat.
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15. Kennings for gold
Skáldskaparmál's rich catalogue of gold-kennings is explained: Sif's hair, Ægir's fire, the seed of Fýrisvellir, and how each kenning is rooted in a particular myth or event.
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16. Kennings for Battle
Bragi explains the poetic circumlocutions for battle and war. Battle is called Odin's weather, the din of spears, and Hild's game, and the skald may choose among many figurative expressions drawn from gods, weapons, and valkyries.
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17. Kennings for Weapons
Bragi lists the circumlocutions for swords, spears, axes, and shields. Weapons bear poetic names drawn from mythology and heroic lore, and the skald may call the sword the fire of the serpent, the spear the staff of Odin, and the shield the tree of the moon.
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18. Kennings for Ships
Bragi explains the poetic designations for ships. The ship is called the horse of the sea, the deer of the wave, and Naglfar, the vessel built from the nails of dead men that will carry the giants to the final battle.
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19. Kennings for the Sea
The sea bears many poetic names in skaldic poetry. It is called the domain of Ægir, the blood of Ymir, and the path of Njord, and the skald draws images from primordial cosmogony as well as the world of gods and giants.
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20. Kennings for Fire
Fire bears poetic names such as the companion of Surt, the bane of wood, and the force of Muspell. Bragi explains how the skald may link fire to the creation myths and to the world of the fire giants in the south.
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21. Kennings for Earth
Bragi explains the circumlocutions for earth. Earth is called the flesh of Ymir, the bride of Odin, and the mother of Thor. These designations draw their power from the cosmogony of the creation narrative and the bonds of the divine family.
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22. Kennings for the Sky
The sky is called the skull of Ymir, the burden of the dwarves, and the helmet of the wind. Bragi explains how the skald may draw images from the cosmogony of the creation narrative, where the gods formed the sky from the giant's cranium and set four dwarves to hold it up.
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23. Kennings for Poetry
Poetry is called the blood of Kvasir, the ship of dwarves, and the catch of Odin. These circumlocutions allude to the tale of the sacred mead, created from the blood of Kvasir and ultimately won by Odin on behalf of the gods.
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24. Kennings for Wind
Wind is called the son of Fornjot, the brother of fire and sea, and the driving force of waves. Bragi explains how the skald may place wind within the cosmic kinship formed by the sons of Fornjot.
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25. Kennings for Man
Man is called the tree of battle, the feeder of ravens, and the ring-giver. Bragi explains the circumlocutions that highlight masculine virtues: the warrior's courage, the generous man's liberality, and the ruler's dignity.
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26. Kennings for Woman
Woman is called the tree of gold, the weeper of Freyja, and the dis of the horn. Bragi explains how the skald may draw images from the world of goddesses and from the mysterious disir of the old Nordic cults to honor and portray woman.
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27. Hrolf Kraki and the Gold of Fyrisvellir
Bragi tells the tale of King Hrolf Kraki and the gold he scattered on the plains of Fyrisvellir to halt his Swedish pursuers. This historical-legendary narrative provides the background for an important concept in gold-kennings.
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28. The Brisingamen Necklace
Bragi tells of Freyja's Brisingamen necklace: how she obtained it from four dwarves by sleeping with each of them, and how Loki later stole it on Odin's behalf. The tale explains why Freyja is called the keeper of the Brisingamen.
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29. Heiti: Poetic Synonyms
Bragi presents heiti, that is, alternative poetic names for gods, animals, weapons, and body parts. Unlike kennings, heiti are simple synonyms that the skald may use for variation and to fill out the metre.
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30. Bragi's Closing Words to Ægir
Bragi concludes his instruction of Ægir and warns that kennings must be used with understanding. One who used them without knowing their origin risked distorting the poem and losing the audience's trust. Skaldic art demands learning, not only ingenuity.