345:
156:
901:
which He suffered for love of humankind. For Minis, renaming his reconstructed 'original' as 'The Way to
Eternal Salvation', this climactic vision was closure enough. Through Christ's sacrifice, Divine justice gives penitents hope for mercy. But in many accounts the sight of the Cross and of Christ's wounds also had a negative effect, as a terrible reminder to sinners of their ingratitude. In any case, the outcome of the Final Judgment has yet to be depicted. The 'tension between the roles of Christ as Judge and as Saviour has surely reached its climax, but not yet its dénouement and resolution'. We should not assume that in the lost ending the poet moderated his awesome narrative, nor that the moralising commentator withheld an uncompromisingly didactic conclusion.
136:
813:
this evidence was re-examined by Kolb. As the manuscript is defective at this point, Bostock, King, & McLintock suggested a syntactic break between lines 50 and 51, which 'would remove the non-biblical notion that the fire is immediately consequent upon, or even caused by, the shedding of Elias' blood.' That causal connection was also dismissed by Kolb and Finger, but affirmed by Mohr & Haug. Good support for a firm linkage came at last in 1980 from Groos and Hill, who reported on a close
Christian analogue, hitherto unknown, from an 8th century Spanish formulary, predicting that on Judgment Day an all-consuming flame will rise up from the blood of Enoch and Elijah.
500:
As possible meanings, Bostock, King and McLintock favoured 'pronouncement about (the fate of) the world' or 'destruction (or destroyer) of the earth'. Like
Sperber and Krogmann, Finger argued that the word originated in Old Saxon as a synonym for Christ, 'He who slays with the word of His mouth' (as in 2 Thessalonians 2, 8 and Apocalypse 19, 15). Finger also contended that the word was imported into Norway (not Iceland) under Christian influence, and that the Old Norse texts (though themselves touched by Christianity) show no deeper understanding of its meaning. Jeske also regarded the word as a Christian coinage, deriving its first syllable from Latin
637:
misunderstand the work's pastoral function as an admonitory sermon. Publishing in 1977 views which he had formulated some 20 years earlier, Wolfgang Mohr saw older poetic material here being re-worked with interpolations, as a warning to all, but especially the rich and powerful. Haug analysed the surviving text using a new method. Characterising it as a 'montage' and a 'somewhat fortuitous' constellation, he focused on its discontinuities, its 'open form', viewing it as an expression of the fragmented order of its time, and as an invective, aimed at correcting some aspects of that fragmentation.
216:
196:
176:
116:
96:, the handwriting is not that of a trained scribe. The language is essentially Bavarian dialect of the middle or late 9th century. The poem's beginning and ending are missing: they were probably written on the manuscript's outer leaves, which have since been lost. Legibility has always been a problem with this text, and some early editors used reagents which have left permanent stains. There are many conjectural readings, some of them crucial to modern interpretation of the work.
746:), empowered by God, will be killed by a beast, but then revived by the Spirit of Life and taken up into Heaven. These witnesses were traditionally identified with Enoch (Genesis 5, 24) and Elijah (received into Heaven in 2 Kings 2, 11). The Antichrist is most closely identifiable with one or other of the beasts described in Apocalypse 13, though the term itself is used elsewhere (1 John 2, 18) to denote apostates, false Christs, whose coming will signal the 'last days'. The
624:
7 lines and forming a symmetrical pattern rich in number symbolism. The result of this drastic surgery was certainly a more unified work of art, alliterative in form and narrative or epic in content. But reviewers (e.g. Steinhoff, Seiffert) soon pointed out serious flaws in Minis's reasoning. Though it remains possible that the documented text was inept expansion of a well-formed, shorter original, later scholars have favoured a far more conservative treatment.
775:('men wise in worldly law'?) expect Elias to prevail in this judicial contest, since he has God's support. And unlike the beast of the biblical Apocalypse, which temporarily kills God's two witnesses, the Antichrist (with Satan at his side) will be brought down and denied victory. compared this outcome with a Christianised Coptic version of the
332:) and receive back their bodies, so that they may speak fully to their case. All will be judged according to their deeds. Hands, heads and all the limbs, even the little finger, will testify to the crimes they have committed. Everything will be made known to the Heavenly King, unless a sinner has already done penance with alms and fasting.
43:
601:
lines 37–62 (labelled by him as 'Muspilli II') had been adapted from an old poem on the destruction of the world and inserted into the main body of the work ('Muspilli I', which had another old poem as its source). Baesecke later (1948–50) linked 'Muspilli II' genetically in a highly conjectural stemma with
256:). This formal unevenness has often led scholars to regard the surviving text as a composite made up of older material and younger accretions – an impression reinforced by the poem's thematic and stylistic diversity. But it is also possible that a single poet deliberately chose to vary the verse forms in this way.
543:
Early researchers were keen to trace the work's theological and mythological sources, to reconstruct its antecedents and genesis, and to identify its oldest, pre-Christian elements. Apart from the Bible, no single work has come to light which could have functioned as a unique source for our poem. For
499:
is usually analysed as a two-part compound, with well over 20 different etymologies proposed, depending on whether the word is seen as a survival from old
Germanic, pagan times, or as a newly coined Christian term originating within the German-speaking area. Only a few examples can be mentioned here.
623:
Minis stripped away the sermonising passages, discarded lines containing rhymes and inferior alliteration, and assumed that small portions of text had been lost at the beginning and in the middle of the poem. These procedures left him with an 'Urtext' of 15 strophes, varying in length from 5 to
900:
The poem is starkly dualistic, dominated by antagonisms: God and Satan, angels and devils, Heaven and Hell, Elias and the
Antichrist. Our text breaks off in narrative mode, on a seemingly conciliatory note: Preceded by the Cross, Christ displays at this Second Coming His stigmata, the bodily wounds
844:
According to Kolb, the poet aimed to prevent listeners from approaching God's
Judgment with expectations derived from secular law, informing them that the King of Heaven's summons cannot be ignored, that the Heavenly Judge is incorruptible, and that bribery is itself a sin which must be revealed on
812:
Another troublesome issue was eventually resolved. The traditional reading of lines 48–51 was that Elias's blood, dripping down onto the earth, would directly set it aflame. For decades, scholars could only point to geographically and chronologically distant parallels in
Russian texts and folklore;
701:
on the Last Day (31–36 and 50 ff). Most of the poem's
Christian features are an amalgam of elements from the Bible. Key passages in the Gospels (particularly Matthew 24, 29 ff; 25, 31 ff; and Luke 21, 5 ff) predict calamities and signs, including a darkening of sun and moon, the stars falling from
636:
as a complicated work that is functionally adequate, regardless of its ostensible stylistic flaws, and to interpret it in its 9th century
Christian context, whilst also sharply questioning or rejecting its allegedly pagan elements. Kolb felt that to demand an unbroken narrative sequence is to
587:
Many of the correspondences proposed are too slight to carry conviction. Conceding that the 'hunt for parallels' was passing into discredit, Schneider was nonetheless insistent that, until all potential
Christian sources had been exhausted, we should not assume that anything still left unexplained
613:. Von Steinmeyer also regarded the existing text as a unity. Though he found the transition from line 36 to 37 'hard and abrupt', he attributed it to the author's own limitations, which in his view also included poor vocabulary, monotonous phraseology, and incompetent alliterative technique.
1048:
Ideally, 'he long line is divided into two by a strong caesura, and the halves, each of which has two major stresses, are linked by alliteration – that is, by the identity of initial sounds – in some of these stresses. The most important stress is that on the first beat of the second half-line'.
891:
seems to be 'directed toward the noblemen who would be entrusted with the business of law', the work's legal significance should not be exaggerated. A corrupt judiciary was not the author's main target, despite his pointed criticism. His true concerns lay elsewhere, in warning all mortals of the
534:
a verdict frequently echoed in 20th century research. On many issues, agreement is still lacking. Its reception by scholars is significant in its own right, and as a study in evolving critical paradigms. Already by 1900, this (literally) marginal work had come to be monumentalised alongside
600:
Commentators have long been troubled by breaks in the poem's thematic sequence, especially between lines 36 and 37, where the Mighty King's summons to Final Judgment is followed by an episode in which Elias fights with the Antichrist. Guided by spelling, style and metre, Baesecke claimed that
651:
as a sermon or homily, Murdoch saw in it these same two 'basic strains': theological and juridical. In recent decades the theological content has again been studied by Carola Gottzmann and Martin Kuhnert. There has also been renewed attention to sources, textual issues, and the word
605:
and other poems. Schneider rejected Baesecke's radical dissections, but still considered the work a composite, with its pristine poetic integrity repeatedly disrupted (in lines 18 ff, 63 ff, and 97 ff) by the 'mediocre' moralising of a 'garrulous preacher'.
2913:
548:
was patently a Christian poem, but with vestiges still of pagan culture. Seeking analogues, Neckel was struck, for example, by similarities between the role of Elias in our poem and the Norse god Freyr, killed by Surtr, who is linked with Muspellr and his sons.
688:
is theologically conventional, and remarkable mainly for its vivid presentation of Christian themes in a vernacular language at such an early date. With biblical support and backed by established dogma, the poet evidently saw no difficulty in juxtaposing the
321:(63–72) A man should judge fairly on earth, because then he need not worry when standing before the Heavenly Judge. When a man disrupts the law by taking bribes, he is being secretly watched by the Devil, who will recall his misdeeds at the Final Judgment.
297:) believe that in that battle Elias will be wounded (or killed?). (When?) Elias's blood drips onto the earth, (then?) mountains will burst into flame, trees will no longer stand, waters will dry up, the moon will fall, the sky will smoulder, middle-earth (
1006:'s narrator quotes from the text, punctuating a lengthy lead in to an early recording of Hitler holding forth. After the words "Muspilli. World's end, in the ancient way", a brief passage is quoted in Old High German, followed by a loose translation.
795:
is ambiguous). In Kolb's interpretation, it is Elias's defeat which makes the final conflagration inevitable. preferred the reading 'wounded' and saw nothing contrary to apocalyptic tradition in this encounter, though references to Enoch and Elijah
290:. Elias will be acting with God's help as a champion of those seeking righteousness, to secure for them a place in Heaven. The Antichrist will be supported by Satan. He will pull him down. He will therefore be denied a victory in the encounter.
265:(Lines 1–17) Directly after death, armies of angels and devils will fight for a person's soul, and they will transport it immediately, either to the joys of an eternal dwelling in Heaven, or to the fire, darkness and torments of Hell.
392:). This is the only known occurrence of this word in Old High German. Its immediate context is the destruction of the world by fire, but it is unclear whether the word denotes a person or some other entity. Distinctively, Kolb took
616:
Verdicts such as these left critics hovering somewhere between two extremes: a technically faltering composition by a single author, or a conglomerate of chronologically separate redactions of varying quality and diverse function.
880:), and supportive of Carolingian legal reforms, to the extent of using concepts and terms typical of Frankish royal court procedures in its depiction of the Last Judgment. Finger concluded that the author was probably a cleric in
762:
the contest between Elias and the Antichrist is presented in much plainer terms. Opinions are divided as to whether our poet suppressed the role of Enoch in order to present the duel as a judicially significant ordeal by combat.
750:
makes no mention of Enoch, and so the Antichrist faces Elias in single combat. Both are presented as strong champions in a dispute of great importance(line 40). Comparisons have sometimes been made with the Old High German
839:'And if a larger sum of money shall have been stolen, ... and if he wishes to deny the accusation, let him take an oath in company with twelve others from his people, or let two champions fight together on that account'.
324:(73–99a) When the Heavenly Horn is sounded, the Judge, accompanied by an unconquerable host of angels, sets out for the place marked out for judgment. Angels will wake the dead and guide them to the judicial assembly (
1058:
Otfrid still used the traditional long lines divided centrally at a caesura, but with rhymes or assonances at each half-line, and in general no attempt at alliteration. On Otfridian verse, see Bostock, King &
976:
in 2007 in the Klosterkirche Walberberg (with Bagby as vocalist & harper and Norbert Rodenkirchen as flautist); it was released in 2008 by Raumklang (RK 2803) in co-production with WDR Köln.
825:), using a technical expression rooted in Germanic law, but relevant also to contemporary politics. Comparisons have also been made with the roles of co-jurors and champions as laid down in the
2670:
Rheinisch, Kölnisch, Katholisch. Beiträge zur Kirchen- und Landesgeschichte sowie zur Geschichte des Buch- und Bibliothekswesens der Rheinlande. Festschrift für Heinz Finger zum 60. Geburtstag.
1022:, translated and dramatized by Tokarski is described as 'a sort of Christian yet heathen-toned Dark Age storymyth embedded into the body of the Old High German alliterative lay 'The Muspilli'.'
535:
other medieval texts against a background of German nation-building, but also in keeping with the powerful, European-wide interest in national antiquities and their philological investigation.
821:
Describing Judgment Day, the poet used terms and concepts drawn from secular law. Some examples are highlighted in the Synopsis, above. Most strikingly, the King of Heaven issues His summons (
779:, in which Elijah and Enoch kill a figure posing as Christ ('the Shameless One', 'the Son of Lawlessness') in a second contest, following the Last Judgment. Different again is a reference in
511:
Scholarly consensus on the word's origin and meaning is unsettled. There is, however, agreement that as a title, it fails to match the poem's principal theme: the fate of souls after death.
872:
Lines 63–72 are directly critical of the judiciary, specifically the taking of bribes. Corrupt judges were frequently censured, and there was much pressure for judicial reform. The
344:
609:
In contrast, Gustav Ehrismann (1918) respected the work's integrity: he saw no need to assume interpolations, nor any pagan Germanic features apart from possible echoes in the word
1068:
Some commentators (e.g.) found these pronouns confusing, but the simplest reading is that the Antichrist will be defeated precisely because he has Satan on his side. See Brennecke.
155:
968:, performed by Sequentia: Ensemble for Medieval Music, directed by Benjamin Bagby. Together with other apocalyptic fragments, this work uses most of the extant text of
915:
was used for the title of a 1900 novel. Muspilli is here invoked as a destructive fire, along with motifs from Germanic mythology such as Loki and the Midgard serpent.
640:
In a landmark dissertation of the same year, Finger saw no further need to search for survivals from pagan mythology, since even the most problematic portions of the
1049:
Though found elsewhere in Old High German and Old Saxon, this form is much better represented in Old English and Old Norse. See also Bostock, King & McLintock.
644:
contain nothing that is alien to patristic thought. Equally illuminating was Finger's placement of the work against a differentiated legal background (see below).
922:
has been set to music as a sacred work. Its apocalyptic theme and mythological associations have also won it something of a following in modern popular culture.
2588:
3rd edition (revised by Elias Steinmeyer). Berlin: Weidmann, 1892. 4th edition. Berlin, Zürich: Weidmann, 1964. Vol. I, pp. 7–15; vol. II, pp. 30–41
804:
has also been glossed as 'people of the right faith' or 'learned men' – in which case no polar opposition between them and the 'men of God' is implied here.
787:(early 3rd century), where Enoch and Elijah are martyred by the Antichrist, who is then 'destroyed by their blood' However, our poet continues, (many?)
2218:
Kuhnert, Martin (2008). ""E caelo rex adveniet": Überlegungen zu theologischen Aspekten im ahd. "Muspilli"". In Hörner, Petra; Wisniewski, Roswitha (eds.).
2861:
2351:
Schneider (1936), Kolb (1964) Mohr & Haug, and Groos & Hill saw the contest in these terms. Arguments to the contrary were produced by Finger.
857:
Rejecting this interpretation, Finger saw no legal implications whatever in this line: Bavarian legal sources offer no proof of regular oath-taking
317:
of the borderlands where humans once fought alongside their kinsfolk? Damned souls have no further chance of remorse and will be taken off to Hell.
710:. The Second Epistle of Peter, chapter 3, foretells the 'Day of the Lord' and its all-consuming fire. Many significant signs are described in
135:
2934:
2550:
588:
must be of pagan Germanic origin or the poet's own invention. Schneider himself saw the poem as solidly Christian, apart from the mysterious word
956:(2002), oratorio for solo voices, instruments, choir, orchestra and tape, by Leopold Hurt, commissioned by the Regensburg Philharmonic Orchestra.
556:. For the work's Christian elements, many correspondences have been cited from the Early Church Fathers (Greek and Latin), apocryphal writings,
2846:
2699:
2677:
2496:
2231:
1453:
1356:
1331:
1283:
834:
Et si maior pecunia furata fuerit, ... et negare voluerit, cum XII sacramentalibus iuret de leuda sua, vel duo campiones propter hoc pugnent
800:
are very unusual. Perhaps the poet was deliberately using ambiguity to accommodate a range of opinions. But the obscure three-part compound
663:
altogether, or they 'reinstate the old bias towards mythological interpretations'. Pakis's personal plea is for a new recognition of the
268:(18–30) Everyone must therefore do God's will in this world. Divine help can no longer be obtained, once a person lies suffering in Hell.
2959:
2425:
1272:
Katalog der lateinischen Handschriften der Bayerischen Staatsbibliothek München. Die Handschriften aus St. Emmeram in Regensburg
429:
occurs as a proper name, apparently that of the progenitor or leader of a band of fighters ('Muspellr's sons'), who are led by fiery
2824:
2802:
2769:
2754:
2663:
2648:
2607:
2202:
1860:
1742:
1574:
1486:
1421:
1385:
2455:
335:(100–103) The Cross is then brought forward, and Christ displays the wounds which He suffered because of His love for humankind.
2683:
Groos, Arthur & Thomas D. Hill (1980). 'The blood of Elias and the Fire of Doom. A New Analogue for Muspilli, vss. 52ff.',
845:
Judgment Day. In Kolb's view, the difference between earthly and Heavenly justice was most explicitly stated in line 57:
2964:
2944:
1225:
2193:
Gottzmann, Carola L. (2002). "Individual- und Universaleschatologie. Das "Muspilli" im theologischen Kontext seiner Zeit".
1322:
Edwards, Cyril W. (2002). "Unlucky Zeal: the Hildebrandslied and the Muspilli under the Acid". In Edwards, Cyril W. (ed.).
1039:
As standard references on this text (all with select bibliographies) see Steinhoff (1987); Staiti (2002); Hellgardt (2013).
972:, translated into English by Benjamin Bagby (Schola Cantorum Basiliensis) based on Koch's edition. A recording was made on
738:
shows greater freedom in its handling of these elements. Chapter 11, 3ff. of the Apocalypse tells how two witnesses (Greek
2954:
719:
2195:
Ars et scientia. Studien zur Literatur des Mittelalters und der Neuzeit. Festschrift für Hans Sklenar zum 70. Geburtstag
2875:
1276:
The Catalog of Latin Manuscripts in the Bavarian State Library, Munich. The Manuscripts of St. Emmeram, Regensburg
2939:
2867:
2416:
849:
your kinsfolk may give you legal support as oath-helpers in this world, but they are powerless to help you before the
552:
Apocalyptic speculation was a common Hebrew-Christian heritage, and interesting parallels exist in some early Jewish
659:
Looking back from 2009, Pakis reported on two 'peculiar trends'. Recent German literary histories either ignore the
467:) (originals 10th century, manuscripts from about 1270). More elaborate detail on Ragnarök is supplied in the
89:
was untidily entered, with numerous scribal errors, using blank pages, lower margins and even the dedication page.
2917:
2899:
1081:), sometimes read as '(When?) no stone is left standing on the earth'. For other suggestions see Mohr & Haug.
876:
emerges from Finger's study as strongly partisan polemic, critical of popular law as practised in county courts (
2949:
1847:, ein Wort christlicher und vorchristlicher germanischer Eschatologie". In Bergmann, Rolf; et al. (eds.).
381:
215:
195:
175:
2333:; Hill, Thomas D. (1980). "The blood of Elias and the fire of doom. A new analogue for Muspilli, vss. 52 ff".
1003:
115:
39:. Many aspects of the interpretation of the poem, including its title, remain controversial among scholars.
771:
Lines 37–49 are often understood as reflecting two opposing contemporary views. In this reading, the
571:
562:, including in Book VIII the "Sibylline Acrostic" (3rd century?), and works by or attributed to
363:
102:
63:
245:
of very uneven quality. Some lines contain rhymes, using a poetic form pioneered in the ninth century by
681:
246:
93:
66:, Munich. The bulk of the manuscript contains a Latin theological text presented between 821 and 827 by
2554:
758:
which depicts in a secular setting a fatal encounter between two champions, father and son. But in the
421:) as a destructive force, coming as a thief in the night, and associated with the end of the world. In
2086:
Sitzungsberichte der königlichen preußischen Akademie der Wissenschaften zu Berlin, Phil.-hist. Klasse
1183:
776:
715:
519:
2668:
Geuenich, Dieter (2008). 'Bemerkungen zum althochdeutschen "Muspilli"', in Siegfried Schmidt (ed.).
1737:]. Göppinger Arbeiten zur Germanistik (in German). Vol. 244. Göppingen, Germany: Kümmerle.
1324:
The Beginnings of German Literature: Comparative and interdisciplinary approaches to Old High German
328:). All human beings will rise from the earth, free themselves from the bondage of the grave-mounds (
2886:
690:
2532:
2175:
1947:
1200:
731:
242:
28:
2842:
2820:
2798:
2765:
2750:
2695:
2673:
2659:
2644:
2603:
2492:
2227:
2198:
1856:
1738:
1570:
1482:
1449:
1417:
1381:
1352:
1327:
1279:
983:(2009) is an experimental work for 5 voices, by a young composer from Schleswig-Holstein.
866:
563:
558:
2224:
Encounter with Literature: Publications in honour of Carola L. Gottzmann on her 65th birthday
1380:] (in German). Vol. 20 (2nd ed.). Berlin: Walter de Gruyter. pp. 433–438.
282:(possibly: 'men wise in the laws of the world') saying that Elias (the Old Testament prophet
2309:
2167:
2015:
1939:
1900:
1136:
The main references are listed in the notes to section XXX of Braune & Ebbinghaus,
881:
698:
474:
75:
51:
2819:
2nd edition. Edited by Heinrich Beck et al. Vol. 20. Berlin, New York: Walter de Gruyter.
2068:
Quellen und Verwandtschaften der älteren germanischen Darstellungen des Jüngsten Gerichtes
1372:
Staiti, Chiara (2002). "Muspilli". In Hoops, Johannes; Heinrich Beck; et al. (eds.).
937:
753:
356:
25:
384:, proposed as the poem's provisional title what seemed to be a key word in line 57:
1771:(8th ed.). Tübingen, Germany: Niemeyer. lines 2591 ff & 4358 ff.
1009:
Kulturverein Muspilli Tanztheater & Musik in Merano, South Tirol, active since 1992.
791:('men of God', 'theologians'?) believe that Elias will be wounded (or slain?) (the verb
947:
553:
2928:
2107:. Vol. 1ste Teil: Die althochdeutsche Literatur. Munich: Beck. pp. 141–150.
1951:
707:
703:
400:
signifying the Last Judgment itself, or perhaps its location or its presiding Judge.
36:
2906:
449:
2595:
Berlin: Weidmann, 1916. 2nd edition. Berlin, Zürich: Weidmann, 1963. pp. 66–81
2330:
2019:
1983:
Neckel, Gustav (1918). "Studien zu den germanischen Dichtungen vom Weltuntergang".
1828:
973:
479:
477:, compiled round 1220, manuscripts from about 1300), and here the section known as
35:
manuscript. Its subject is the fate of the soul immediately after death and at the
2473:
1304: 61 & 119–121 (folios 1–60 belong to an unrelated 14th century
2220:
Begegnung mit Literaturen: Festschrift für Carola L. Gottzmann zum 65. Geburtstag
1985:
Sitzungsberichte der Heidelberger Akademie der Wissenschaften, Phil.-hist. Klasse
2643:
2nd edition revised by K. C. King and D. R. McLintock. Oxford: Clarendon Press.
1230:
443:
434:
2025:
Sommer, Herbert W. (1963). "The pseudepigraphic source of "Muspilli II"".
2793:
Schützeichel, Rudolf (1988). 'Zum Muspilli', in Peter K. Stein et al. (eds.).
2526:
2419:[search result / no title cited / pertinent title not obvious on page]
2313:
1791:
1305:
1297:
780:
667:
in all its complexity, as 'a locus of polyvocality and interpretive tensions'
576:
489:
469:
287:
1904:
459:
422:
404:
2434:
1943:
1347:
Steinhoff, Hans-Hugo (1987). "Muspilli". In Ruh, Kurt; et al. (eds.).
936:(1978) for baritone and instrumental accompaniment, by the German composer
62:
The text is extant in a single ninth-century manuscript: Clm 14098 of the
2894:
recited by Dr. Derk Ohlenroth as part of the Mittelalterliche Leseproben.
1814:
1471:
1469:
1467:
1465:
1669:. Philologische Studien und Quellen. Vol. 35. Berlin: Erich Schmidt.
314:
71:
1637:
Brennecke, Detlef (1970). "Es gibt keine Lücke nach Muspilli 45a".
1351:. Vol. 6 (2nd ed.). Berlin: Walter de Gruyter. cols. 821–828.
2179:
409:
67:
32:
2579:
Muspilli. Bruchstück einer alliterierenden Dichtung vom Ende der Welt.
574:
and others. Baesecke posited a firm relationship with the Old English
441:, Thor, Týr, Freyr and Loki). The oldest known occurrences are in the
2512:
1684:. Vol. 6. Berlin: Akademie-Verlag; De Gruyter. fasc. 12–14.
1199:
This Christian acrostic, apocalyptic in content, also appears in the
283:
2837:
Steinhoff, Hans-Hugo (1987). 'Muspilli', in Kurt Ruh et al. (eds.).
2171:
1481:(2nd, revised ed.). Oxford: Clarendon Press. pp. 135–154.
1291:
620:
The second of these approaches culminated in Minis' 1966 monograph.
437:(a series of events heralding the death of major deities, including
50:
at the bottom of a page of the manuscript once in the possession of
42:
2105:
Geschichte der deutschen Literatur bis zum Ausgang des Mittelalters
1680:
Frings, Theodor; Karg-Gasterstädt, Elisabeth; et al. (2014) .
413:(early or mid 9th century) presents (and perhaps personifies)
2586:
Denkmäler deutscher Poesie und Prosa aus dem VIII–XII Jahrhundert.
1309:
1301:
1207:
1077:
This summary ignores the problematic half-line 55a (...
508:(more conventionally) from a Germanic root meaning 'destruction'.
430:
367:
343:
221:
201:
181:
161:
141:
121:
41:
2602:
17th edition revised by Ernst A. Ebbinghaus. Tübingen: Niemeyer.
2042:
2040:
275:), all humans must attend and account for their actions on earth.
2797:(Göppinger Arbeiten zur Germanistik, 478.) Göppingen, Kümmerle.
2658:(Göppinger Arbeiten zur Germanistik, 244.) Göppingen: Kümmerle.
567:
438:
2402:(Roman / novel). Linz, Austria: Österreichische Verlagsanstalt.
1723:
1721:
1719:
1717:
1715:
1713:
1711:
1477:
Bostock, J. Knight (1976). King, K.C.; McLintock, D.R. (eds.).
1278:]. Vol. 1. Wiesbaden: Harrassowitz. pp. 238–241.
31:
poem known in incomplete form (103 lines) from a ninth-century
2742:(Philologische Studien und Quellen, 35.) Berlin: Erich Schmidt
2325:
2323:
1709:
1707:
1705:
1703:
1701:
1699:
1697:
1695:
1693:
1691:
1440:
Hellgardt, Ernst (2013). "Muspilli". In Bergmann, Rolf (ed.).
1103:
Partly following Kolb; sometimes misunderstood as '... fought
1012:'Muspilli', a track in the album by the German folk-rock band
2690:
Hellgardt, Ernst (2013). 'Muspilli', in Rolf Bergmann (ed.).
2489:
Die deutsche Literatur in Text und Darstellung. Mittelalter I
2270:
Santoro, Verio (2007). "Un dimenticato problema ecdotico del
1782:
1435:
1433:
530:"this most exasperating piece of Old High German literature",
403:
Related forms are found in two other Germanic languages. The
2815:
Staiti, Chiara (2002). 'Muspilli', in Johannes Hoops (ed.).
2387:. Vol. II Leges. Hannover, Germany: Hahn. 1883. 1, 802.
2291:
2289:
1920:
1918:
1916:
1914:
2584:
Müllenhoff, Karl & Wilhelm Scherer (eds.) (1892/1964).
2544:
2542:
1555:
1553:
1551:
1549:
1547:
1545:
1543:
1518:
734:
with its visions of monsters, battles, fire and blood. The
2841:
2nd edition. Vol. 6. Berlin, New York: Walter de Gruyter.
2839:
Die deutsche Literatur des Mittelalters. Verfasserlexikon.
2131:
2129:
1612:
1610:
1608:
1606:
1604:
1602:
1600:
1598:
1516:
1514:
1512:
1510:
1508:
1506:
1504:
1502:
1500:
1498:
2153:
2151:
2079:
2077:
1448:] (in German). Berlin: De Gruyter. pp. 288–292.
1407:
1405:
1403:
1401:
1399:
1397:
1349:
Die deutsche Literatur des Mittelalters. Verfasserlexikon
85:). Into this orderly written manuscript, the text of the
1250:
On this parallel and its historical context, see Finger.
2136:
Steinhoff, Hans-Hugo (1968). "Review of Minis (1966)".
869:
form) means 'tribe' or 'people' (not precisely 'kin').
353:"dar nimac denne mak andremo helfan uora demo muspille"
309:) at hand, no man is able to help a kinsman before the
2672:
Cologne: Erzbischöfliche Diözesan- und Dombibliothek.
2373:. Hannover, Germany: Hahn. 1926. p. 369. I, 5, 2.
2226:] (in German). Berlin: Weidler. pp. 111–132.
1878:
Språkvetenskapliga Sällskapets i Uppsala Förhandlingar
1660:
1658:
1656:
1654:
1652:
388:('there no kinsman is able to help another before the
2830:
Steinhoff, Hans-Hugo (1968). Review of Minis (1966),
2795:
Festschrift für Ingo Reiffenstein zum 60. Geburtstag.
2779:
in the history of scholarship: two peculiar trends',
2300:
in the history of scholarship: Two peculiar trends".
1891:
Krogmann, Willy (1953). "Muspilli und Muspellsheim".
702:
the heavens and a loud trumpet, followed by Christ's
386:
dar nimac denne mak andremo helfan uora demo muspille
2775:
Pakis, Valentine A. (2009). 'The literary status of
2628:
Bergmann, Rolf (1971). 'Zum Problem der Sprache des
2535:
from the original on 2021-12-19 – via YouTube.
2296:
Pakis, Valentine A. (2009). "The literary status of
1592:
Kolb (1964); Mohr & Haug (1977); Murdoch (1983).
887:
Murdoch placed the emphasis differently. Though the
693:(lines 1–30, with souls consigned immediately (
2158:Seiffert, Leslie (1969). "Review of Minis (1966)".
2456:"Muspilli Spezial. 9 Versionen des Weltuntergangs"
2411:
2409:
584:poet probably knew and used the Old English poem.
2808:Seiffert, Leslie (1969). Review of Minis (1966),
2122:(2nd ed.). Berlin: Weidmann. pp. 66–81.
2047:Baesecke, Georg (1948–1950). "Muspilli II".
892:'absolute necessity of right behavior on earth'.
271:(31–36) When the Mighty King issues His summons (
2909:– via Sagemære / Altdeutsche Hœrliteratur.
2274:le trascrizioni di Docen, Maßmann e Schmeller".
1893:Zeitschrift für Religions- und Geistesgeschichte
1569:] (in German). Tübingen, Germany: Niemeyer.
1210:102r–103r of the very manuscript into which the
1119:is dative singular, either masculine or neuter.
966:Fragments for the End of Time – Endzeitfragmente
960:Muspilli Spezial. 9 Versionen des Weltuntergangs
483:(chapters 4, 13, and 51) has references to
2705:Jeske, Hans (2006). 'Zur Etymologie des Wortes
2593:Die kleineren althochdeutschen Sprachdenkmäler.
1926:Jeske, Hans (2006). "Zur Etymologie des Wortes
1233:'s instructions to his itinerant magistrates).
632:Increasingly, the aim has been to approach the
2757:(with text and translation into modern German)
2120:Die kleineren althochdeutschen Sprachdenkmäler
1978:
1976:
1767:Behaghel, Otto; Mitzka, Walther, eds. (1965).
1292:"Paderborner Repertorium, Handschriftencensus"
2515:. Merano, South Tirol: Kulturverein Muspilli.
396:as a local preposition ('in front of'), with
8:
2817:Reallexikon der Germanischen Altertumskunde.
2781:Amsterdamer Beiträge zur älteren Germanistik
2692:Althochdeutsche und altsächsische Literatur.
2621:Baesecke, Georg (1948–1950). 'Muspilli II',
2551:"A Linguistics Experience: Muspilli II"
2302:Amsterdamer Beiträge zur älteren Germanistik
1581:with text and translation into modern German
1241:≈ 'disrupts (impedes? falsifies?) the law' (
1176:ies verzweifeltste stück der ahd. litteratur
730:A further biblical source was the canonical
2863:Digitalised images of the entire manuscript
2740:Handschrift, Form und Sprache des Muspilli.
1442:Althochdeutsche und altsächsische Literatur
1374:Reallexikon der Germanischen Altertumskunde
1855:. Heidelberg: Winter. pp. 1180–1194.
1667:Handschrift, Form und Sprache des Muspilli
829:, an 8th century collection of laws:
485:Muspell(i), Muspells megir, Muspells synir
2745:Mohr, Wolfgang & Walter Haug (1977).
2641:A Handbook on Old High German Literature.
991:has featured variously in popular culture
718:, in a tradition later formalised as the
539:Genetic approaches: sources and parallels
2577:Schmeller, Johann Andreas (ed.) (1832).
1479:A Handbook on Old High German Literature
1446:Old High German and Old Saxon Literature
1204:Sermo contra Judaeos, paganos et Arianos
2786:Schneider, Hermann (1936). 'Muspilli',
1876:Sperber, Hans (1906–1912). "Mûspilli".
1618:Schneider, Hermann (1936). "Muspilli".
1262:
1032:
714:and in non-canonical works such as the
628:Identifying the work's intended purpose
305:With the Day of Punishment or Penance (
2722:Zeitschrift für deutsche Wortforschung
1853:Wörter und Namen. Forschungsgeschichte
1561:Mohr, Wolfgang; Haug, Walter (1977).
1223:The wording here closely matches the
998:1977: Early in his 7 hour film,
946:(1994) for mixed choir and organ, by
7:
2591:Steinmeyer, Elias von (ed.) (1916).
2371:Monumenta Germaniae Historica. Leges
2118:von Steinmeyer, Elias, ed. (1963) .
2084:Baesecke, Georg (1918). "Muspilli".
2733:Zeitschrift für deutsche Philologie
1965:Müllenhoff, Karl; Wilhelm Scherer.
1530:Zeitschrift für deutsche Philologie
1378:Real Lexicon of Germanic Archeology
861:, and in the passage quoted above,
2832:Zeitschrift für deutsches Altertum
2788:Zeitschrift für deutsches Altertum
2711:Zeitschrift für deutsches Altertum
2623:Zeitschrift für deutsches Altertum
2426:Deutsches Musikinformationszentrum
2197:. Berlin: Weidler. pp. 9–31.
2138:Zeitschrift für deutsches Altertum
2049:Zeitschrift für deutsches Altertum
1932:Zeitschrift für deutsches Altertum
1639:Zeitschrift für deutsches Altertum
1620:Zeitschrift für deutsches Altertum
1416:. Boston: Twayne. pp. 68–72.
14:
286:) will fight with and defeat the
2002:Sommer, Herbert W. (1960). "The
1735:Investigations on the "Muspilli"
627:
293:(48–62) But (many?) men of God (
214:
194:
174:
154:
134:
114:
2879:(transcribed text & images)
2731:Versuch einer Interpretation',
2487:Koch, Hans Jürgen, ed. (1986).
1528:Versuch einer Interpretation".
1123:is a reconstructed nominative -
330:lossan sih ar dero leuuo vazzon
2935:Christian apocalyptic writings
2656:Untersuchungen zum "Muspilli".
2491:. Stuttgart, Germany: Reclam.
2020:10.1080/19306962.1960.11787011
1312: 61r, 119v, 120, and 121.
596:Multiple or single authorship?
1:
2920:/ Medieval German Department.
2902:, Medieval German Department.
2885:(academic personal website).
2685:Neuphilologische Mitteilungen
2610:. Section XXX, pp. 86–89
2385:Monumenta Germaniae Historica
2335:Neuphilologische Mitteilungen
1731:Untersuchungen zum "Muspilli"
908:in literature, music and film
720:Fifteen Signs before Doomsday
697:) to Heaven or Hell) and the
362:that gave the poem its name (
250:
105:CLM 14098, folios containing
79:
2694:Berlin, Boston: De Gruyter.
2634:Frühmittelalterliche Studien
1270:Wunderle, Elisabeth (1995).
1226:Capitulare missorum generale
926:Musical compositions include
2868:Bayerische Staatsbibliothek
2762:Old High German Literature.
2639:Bostock, J. Knight (1976).
2360:This follows Kolb 1962, 95.
2251:e le sue probabili fonti".
2070:. Halle, Germany: Niemeyer.
1969:. Vol. II. p. 40.
1682:Althochdeutsches Wörterbuch
1326:. Rochester: Camden House.
1308:). The Muspilli text is on
1162:'to destroy' and Old Saxon
1000:Hitler: a film from Germany
313:. Amidst this destruction,
278:(37–47) The poet has heard
2981:
2960:Old High German literature
2760:Murdoch, Brian O. (1983).
2600:Althochdeutsches Lesebuch.
2549:Tokarski, Francis (2011).
2398:Hagenauer, Arnold (1900).
2103:Ehrismann, Gustav (1918).
1826:see also wikipedia article
1414:Old High German Literature
1412:Murdoch, Brian O. (1983).
380:In 1832 the first editor,
2870:(Bavarian State Library).
2513:"Tanztheater & Musik"
2314:10.1163/9789042032118_006
1138:Althochdeutsches Lesebuch
1079:en ni kisten titeikinerdu
355:contains Old High German
2727:Kolb, Herbert (1964). '
2716:Kolb, Herbert (1962). '
2598:Braune, Wilhelm (1994).
2528:Nachtgeschrei - Muspilli
2247:Papo, Laura (1996). "Il
1843:Laur, Wolfgang (1987). "
1783:"Sophus Bugge's edition"
979:Mathias Monrad Møller's
726:Elias and the Antichrist
603:Christ III, Heliand
580:. In Finger's view, the
382:Johann Andreas Schmeller
2866:(text images). Munich:
2724:18, Neue Folge 3, 88–95
2429:. Bonn, Germany. suche
2276:Linguistica e Filologia
1905:10.1163/157007353X00180
1524:Kolb, Herbert (1964). "
1235:iustum iudicium marrire
241:Most of the poem is in
2918:University of Tübingen
2900:University of Tübingen
2810:Modern Language Review
2654:Finger, Heinz (1977).
2160:Modern Language Review
1944:10.3813/zfda-2006-0025
1757:See also Finger (1977)
1729:Finger, Heinz (1977).
572:Adso of Montier-en-Der
377:
364:Bavarian State Library
103:Bavarian State Library
94:Carolingian minuscules
64:Bavarian State Library
54:
2965:Medieval German poems
2945:Germanic Christianity
2531:. Ameisengast. 2009.
2066:Grau, Gustav (1908).
1143:See also Laur (1987).
1004:Hans-Jürgen Syberberg
918:Since the 1970s, the
807:
682:Christian eschatology
522:(1892) described the
347:
280:dia uueroltrehtuuîson
247:Otfrid of Weissenburg
45:
2955:Epic poems in German
2749:Tübingen: Niemeyer.
2738:Minis, Cola (1966).
1665:Minis, Cola (1966).
1154:Compare Old English
777:Apocalypse of Elijah
716:Apocalypse of Thomas
433:against the gods at
16:Old High German poem
2898:(audio recording).
2887:Hochschule Augsburg
2747:Zweimal 'Muspilli'.
2729:Vora demo muspille.
2718:dia weroltrehtwîson
1769:Heliand und Genesis
1526:Vora demo muspille.
1214:was entered.
981:Fünf Muspilli-räume
767:Two opposing views?
691:particular judgment
2940:Germanic mythology
2827:. pp. 433–438
2702:. pp. 288–292
2680:. pp. 443–450
2651:. pp. 135–154
2308:: 41–60, esp. 56.
1563:Zweimal 'Muspilli'
1201:Pseudo-Augustinian
823:kipannit daz mahal
732:Book of Revelation
680:As an exemplar of
515:Critical reception
378:
273:daz mahal kipannit
243:alliterative verse
55:
29:alliterative verse
2914:"(audio vers. 2)"
2907:"(audio vers. 1)"
2847:978-3-11-022248-7
2700:978-3-11-024549-3
2678:978-3-939160-13-7
2572:Critical editions
2498:978-3-15-009601-7
2233:978-3-89693-516-8
1792:"Septentrionalia"
1455:978-3-11-024549-3
1358:978-3-11-022248-7
1333:978-1-57113-235-2
1285:978-3-447-03474-6
1184:E. von Steinmeyer
802:uueroltrehtuuîson
773:uueroltrehtuuîson
676:Theological basis
647:Categorising the
564:Ephrem the Syrian
559:Sibylline Oracles
2972:
2921:
2910:
2903:
2890:
2880:
2871:
2805:. pp. 15–30
2772:. pp. 68–72
2764:Boston: Twayne.
2566:
2565:
2563:
2562:
2553:. Archived from
2546:
2537:
2536:
2523:
2517:
2516:
2509:
2503:
2502:
2484:
2478:
2477:
2470:
2464:
2463:
2452:
2446:
2445:
2443:
2442:
2433:. Archived from
2432:
2420:
2413:
2404:
2403:
2395:
2389:
2388:
2381:
2375:
2374:
2367:
2361:
2358:
2352:
2349:
2343:
2342:
2327:
2318:
2317:
2293:
2284:
2283:
2267:
2261:
2260:
2244:
2238:
2237:
2215:
2209:
2208:
2190:
2184:
2183:
2155:
2146:
2145:
2133:
2124:
2123:
2115:
2109:
2108:
2100:
2094:
2093:
2081:
2072:
2071:
2063:
2057:
2056:
2044:
2035:
2034:
2023:
1999:
1993:
1992:
1980:
1971:
1970:
1962:
1956:
1955:
1922:
1909:
1908:
1888:
1882:
1881:
1880:. pp. 1–11.
1873:
1867:
1866:
1840:
1834:
1822:
1811:
1805:
1802:
1800:
1798:
1786:
1779:
1773:
1772:
1764:
1758:
1755:
1749:
1748:
1725:
1686:
1685:
1677:
1671:
1670:
1662:
1647:
1646:
1634:
1628:
1627:
1614:
1593:
1590:
1584:
1583:
1567:Twice "Muspilli"
1557:
1538:
1537:
1520:
1493:
1492:
1473:
1460:
1459:
1437:
1428:
1427:
1409:
1392:
1391:
1369:
1363:
1362:
1344:
1338:
1337:
1319:
1313:
1296:The 9th-century
1295:
1289:
1267:
1251:
1239:marrit daz rehta
1221:
1215:
1197:
1191:
1173:
1167:
1160:spillan, spildan
1152:
1146:
1134:
1128:
1114:
1108:
1101:
1095:
1088:
1082:
1075:
1069:
1066:
1060:
1056:
1050:
1046:
1040:
1037:
1020:Muspilli II
882:Louis the German
840:
827:Lex Baiuwariorum
713:
699:general judgment
475:Snorri Sturluson
375:
255:
252:
229:
218:
209:
198:
189:
178:
169:
158:
149:
138:
129:
118:
84:
81:
76:Louis the German
52:Louis the German
2980:
2979:
2975:
2974:
2973:
2971:
2970:
2969:
2950:Norse mythology
2925:
2924:
2912:
2911:
2905:
2904:
2893:
2878:
2874:
2860:
2857:
2852:
2849:. cols. 821–828
2617:
2574:
2569:
2560:
2558:
2548:
2547:
2540:
2525:
2524:
2520:
2511:
2510:
2506:
2499:
2486:
2485:
2481:
2472:
2471:
2467:
2454:
2453:
2449:
2440:
2438:
2430:
2418:
2415:
2414:
2407:
2397:
2396:
2392:
2383:
2382:
2378:
2369:
2368:
2364:
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2355:
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2346:
2329:
2328:
2321:
2295:
2294:
2287:
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2234:
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2212:
2205:
2192:
2191:
2187:
2172:10.2307/3723711
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2127:
2117:
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2101:
2097:
2083:
2082:
2075:
2065:
2064:
2060:
2046:
2045:
2038:
2024:
2008:Germanic Review
2001:
2000:
1996:
1982:
1981:
1974:
1964:
1963:
1959:
1925:
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1923:
1912:
1890:
1889:
1885:
1875:
1874:
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1776:
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1689:
1679:
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1636:
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1596:
1591:
1587:
1577:
1560:
1559:
1558:
1541:
1523:
1522:
1521:
1496:
1489:
1476:
1475:
1474:
1463:
1456:
1439:
1438:
1431:
1424:
1411:
1410:
1395:
1388:
1371:
1370:
1366:
1359:
1346:
1345:
1341:
1334:
1321:
1320:
1316:
1300:corresponds to
1290:
1286:
1269:
1268:
1264:
1260:
1255:
1254:
1222:
1218:
1198:
1194:
1174:
1170:
1153:
1149:
1135:
1131:
1115:
1111:
1102:
1098:
1090:Minis suggests
1089:
1085:
1076:
1072:
1067:
1063:
1057:
1053:
1047:
1043:
1038:
1034:
1029:
938:Wilfried Hiller
910:
898:
896:The lost ending
838:
819:
810:
769:
754:Hildebrandslied
728:
711:
678:
673:
630:
598:
541:
517:
473:(attributed to
407:Christian poem
371:
357:hapax legomenon
342:
262:
253:
239:
234:
233:
232:
231:
230:
225:
219:
211:
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150:
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139:
131:
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125:
119:
110:
109:
82:
74:, to the young
60:
26:Old High German
17:
12:
11:
5:
2978:
2976:
2968:
2967:
2962:
2957:
2952:
2947:
2942:
2937:
2927:
2926:
2923:
2922:
2891:
2872:
2856:
2855:External links
2853:
2851:
2850:
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2813:
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2791:
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2758:
2743:
2736:
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2581:Munich: Jaquet
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2203:
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2147:
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2110:
2095:
2073:
2058:
2036:
2014:(3): 157–163.
2006:-Apocalypse".
1994:
1972:
1957:
1938:(4): 425–434.
1910:
1883:
1868:
1861:
1851:. Vol. 2
1849:Althochdeutsch
1835:
1833:
1832:
1815:"Gylfaginning"
1806:
1804:
1803:
1774:
1759:
1750:
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1594:
1585:
1575:
1539:
1494:
1487:
1461:
1454:
1429:
1422:
1393:
1386:
1364:
1357:
1339:
1332:
1314:
1284:
1261:
1259:
1256:
1253:
1252:
1249:
1248:
1216:
1192:
1190:
1189:
1188:
1187:
1168:
1147:
1145:
1144:
1129:
1109:
1096:
1083:
1070:
1061:
1051:
1041:
1031:
1030:
1028:
1025:
1024:
1023:
1017:
1010:
1007:
995:
994:
992:
985:
984:
977:
963:
957:
951:
948:Dietmar Bonnen
941:
930:
929:
927:
909:
903:
897:
894:
884:'s entourage.
855:
854:
842:
841:
836:
818:
815:
809:
806:
768:
765:
727:
724:
712:2(4) Esdras 5,
684:, much of the
677:
674:
672:
671:Interpretation
669:
629:
626:
597:
594:
554:pseudepigrapha
540:
537:
532:
531:
520:Von Steinmeyer
516:
513:
490:Muspells heimr
465:Muspells synir
455:Muspells lýþir
341:
338:
337:
336:
333:
322:
303:
302:
291:
276:
269:
266:
261:
258:
254: 790–875
238:
235:
220:
213:
212:
200:
193:
192:
180:
173:
172:
160:
153:
152:
140:
133:
132:
120:
113:
112:
111:
101:
100:
99:
98:
83: 810–876
59:
56:
15:
13:
10:
9:
6:
4:
3:
2:
2977:
2966:
2963:
2961:
2958:
2956:
2953:
2951:
2948:
2946:
2943:
2941:
2938:
2936:
2933:
2932:
2930:
2919:
2915:
2908:
2901:
2897:
2892:
2888:
2884:
2883:Ulrich Harsch
2877:
2873:
2869:
2865:
2864:
2859:
2858:
2854:
2848:
2844:
2840:
2836:
2833:
2829:
2826:
2825:3-11-017164-3
2822:
2818:
2814:
2811:
2807:
2804:
2803:3-87452-714-X
2800:
2796:
2792:
2789:
2785:
2782:
2778:
2774:
2771:
2770:0-8057-6535-2
2767:
2763:
2759:
2756:
2755:3-484-10283-7
2752:
2748:
2744:
2741:
2737:
2734:
2730:
2726:
2723:
2719:
2715:
2712:
2708:
2704:
2701:
2697:
2693:
2689:
2686:
2682:
2679:
2675:
2671:
2667:
2665:
2664:3-87452-400-0
2661:
2657:
2653:
2650:
2649:0-19-815392-9
2646:
2642:
2638:
2635:
2631:
2627:
2624:
2620:
2619:
2614:
2609:
2608:3-484-10708-1
2605:
2601:
2597:
2594:
2590:
2587:
2583:
2580:
2576:
2575:
2571:
2557:on 2016-02-02
2556:
2552:
2545:
2543:
2539:
2534:
2530:
2529:
2522:
2519:
2514:
2508:
2505:
2500:
2494:
2490:
2483:
2480:
2475:
2469:
2466:
2461:
2457:
2451:
2448:
2437:on 2017-02-02
2436:
2428:
2427:
2422:
2412:
2410:
2406:
2401:
2394:
2391:
2386:
2380:
2377:
2372:
2366:
2363:
2357:
2354:
2348:
2345:
2340:
2336:
2332:
2331:Groos, Arthur
2326:
2324:
2320:
2315:
2311:
2307:
2303:
2299:
2292:
2290:
2286:
2281:
2277:
2273:
2266:
2263:
2258:
2254:
2250:
2243:
2240:
2235:
2229:
2225:
2221:
2214:
2211:
2206:
2204:3-89693-207-1
2200:
2196:
2189:
2186:
2181:
2177:
2173:
2169:
2165:
2161:
2154:
2152:
2148:
2143:
2139:
2132:
2130:
2126:
2121:
2114:
2111:
2106:
2099:
2096:
2091:
2087:
2080:
2078:
2074:
2069:
2062:
2059:
2054:
2050:
2043:
2041:
2037:
2032:
2028:
2021:
2017:
2013:
2009:
2005:
1998:
1995:
1990:
1986:
1979:
1977:
1973:
1968:
1961:
1958:
1953:
1949:
1945:
1941:
1937:
1933:
1929:
1921:
1919:
1917:
1915:
1911:
1906:
1902:
1899:(2): 97–118.
1898:
1894:
1887:
1884:
1879:
1872:
1869:
1864:
1862:3-533-03877-7
1858:
1854:
1850:
1846:
1839:
1836:
1830:
1827:
1824:
1823:
1820:
1816:
1810:
1807:
1793:
1788:
1787:
1784:
1778:
1775:
1770:
1763:
1760:
1754:
1751:
1746:
1744:3-87452-400-0
1740:
1736:
1732:
1724:
1722:
1720:
1718:
1716:
1714:
1712:
1710:
1708:
1706:
1704:
1702:
1700:
1698:
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1694:
1692:
1688:
1683:
1676:
1673:
1668:
1661:
1659:
1657:
1655:
1653:
1649:
1644:
1640:
1633:
1630:
1625:
1621:
1613:
1611:
1609:
1607:
1605:
1603:
1601:
1599:
1595:
1589:
1586:
1582:
1578:
1576:3-484-10283-7
1572:
1568:
1564:
1556:
1554:
1552:
1550:
1548:
1546:
1544:
1540:
1535:
1531:
1527:
1519:
1517:
1515:
1513:
1511:
1509:
1507:
1505:
1503:
1501:
1499:
1495:
1490:
1488:0-19-815392-9
1484:
1480:
1472:
1470:
1468:
1466:
1462:
1457:
1451:
1447:
1443:
1436:
1434:
1430:
1425:
1423:0-8057-6535-2
1419:
1415:
1408:
1406:
1404:
1402:
1400:
1398:
1394:
1389:
1387:3-11-017164-3
1383:
1379:
1375:
1368:
1365:
1360:
1354:
1350:
1343:
1340:
1335:
1329:
1325:
1318:
1315:
1311:
1307:
1303:
1299:
1293:
1287:
1281:
1277:
1273:
1266:
1263:
1257:
1247:
1246:
1244:
1240:
1236:
1232:
1228:
1227:
1220:
1217:
1213:
1209:
1205:
1202:
1196:
1193:
1185:
1181:
1180:
1179:
1178:
1177:
1172:
1169:
1165:
1161:
1157:
1151:
1148:
1142:
1141:
1139:
1133:
1130:
1126:
1122:
1118:
1117:demo muspille
1113:
1110:
1106:
1100:
1097:
1093:
1087:
1084:
1080:
1074:
1071:
1065:
1062:
1055:
1052:
1045:
1042:
1036:
1033:
1026:
1021:
1018:
1015:
1014:Nachtgeschrei
1011:
1008:
1005:
1001:
997:
996:
993:
990:
987:
986:
982:
978:
975:
971:
967:
964:
961:
958:
955:
952:
949:
945:
942:
939:
935:
932:
931:
928:
925:
924:
923:
921:
916:
914:
907:
904:
902:
895:
893:
890:
885:
883:
879:
878:Grafsgerichte
875:
870:
868:
864:
860:
852:
848:
847:
846:
837:
835:
832:
831:
830:
828:
824:
817:Legal aspects
816:
814:
808:Elias's blood
805:
803:
799:
794:
790:
786:
782:
778:
774:
766:
764:
761:
757:
755:
749:
745:
741:
737:
733:
725:
723:
721:
717:
709:
708:Last Judgment
705:
704:Second Coming
700:
696:
692:
687:
683:
675:
670:
668:
666:
662:
657:
655:
650:
645:
643:
638:
635:
625:
621:
618:
614:
612:
607:
604:
595:
593:
591:
585:
583:
579:
578:
573:
569:
565:
561:
560:
555:
550:
547:
538:
536:
529:
528:
527:
525:
521:
514:
512:
509:
507:
503:
498:
494:
492:
491:
486:
482:
481:
476:
472:
471:
466:
462:
461:
456:
452:
451:
446:
445:
440:
436:
432:
428:
424:
420:
416:
412:
411:
406:
401:
399:
395:
391:
387:
383:
374:
369:
365:
361:
358:
354:
351:line 57
350:
346:
339:
334:
331:
327:
323:
320:
319:
318:
316:
312:
308:
300:
296:
292:
289:
285:
281:
277:
274:
270:
267:
264:
263:
259:
257:
248:
244:
237:Metrical form
236:
228:
223:
217:
208:
203:
197:
188:
183:
177:
168:
163:
157:
148:
143:
137:
128:
123:
117:
108:
104:
97:
95:
90:
88:
77:
73:
69:
65:
57:
53:
49:
46:Parts of the
44:
40:
38:
37:Last Judgment
34:
30:
27:
23:
22:
2916:– via
2895:
2882:
2862:
2838:
2831:
2816:
2809:
2794:
2787:
2780:
2776:
2761:
2746:
2739:
2732:
2728:
2721:
2717:
2713:135, 425–434
2710:
2706:
2691:
2684:
2669:
2655:
2640:
2633:
2629:
2622:
2615:Bibliography
2599:
2592:
2585:
2578:
2559:. Retrieved
2555:the original
2527:
2521:
2507:
2488:
2482:
2468:
2459:
2450:
2439:. Retrieved
2435:the original
2424:
2399:
2393:
2384:
2379:
2370:
2365:
2356:
2347:
2338:
2334:
2305:
2301:
2297:
2279:
2275:
2271:
2265:
2256:
2252:
2248:
2242:
2223:
2219:
2213:
2194:
2188:
2163:
2159:
2141:
2137:
2119:
2113:
2104:
2098:
2089:
2085:
2067:
2061:
2052:
2048:
2030:
2026:
2011:
2007:
2003:
1997:
1988:
1984:
1966:
1960:
1935:
1931:
1927:
1896:
1892:
1886:
1877:
1871:
1852:
1848:
1844:
1838:
1829:Gylfaginning
1825:
1819:Heimskringla
1818:
1809:
1795:. Retrieved
1777:
1768:
1762:
1753:
1734:
1730:
1681:
1675:
1666:
1642:
1638:
1632:
1623:
1619:
1588:
1580:
1566:
1562:
1533:
1529:
1525:
1478:
1445:
1441:
1413:
1377:
1373:
1367:
1348:
1342:
1323:
1317:
1275:
1271:
1265:
1242:
1238:
1234:
1224:
1219:
1211:
1203:
1195:
1175:
1171:
1163:
1159:
1155:
1150:
1137:
1132:
1124:
1120:
1116:
1112:
1104:
1099:
1091:
1086:
1078:
1073:
1064:
1054:
1044:
1035:
1019:
1013:
999:
988:
980:
969:
965:
959:
953:
950:(born 1958).
943:
940:(born 1941).
933:
919:
917:
912:
911:
905:
899:
888:
886:
877:
873:
871:
862:
858:
856:
850:
843:
833:
826:
822:
820:
811:
801:
797:
792:
788:
784:
772:
770:
759:
752:
747:
743:
739:
735:
729:
694:
685:
679:
664:
660:
658:
653:
648:
646:
641:
639:
633:
631:
622:
619:
615:
610:
608:
602:
599:
589:
586:
581:
575:
557:
551:
545:
542:
533:
523:
518:
510:
505:
504:'world' and
501:
496:
495:
488:
484:
480:Gylfaginning
478:
468:
464:
458:
454:
448:
442:
426:
418:
414:
408:
402:
397:
393:
389:
385:
379:
372:
366:clm. 14098,
359:
352:
348:
329:
325:
315:what is left
310:
306:
304:
301:) will burn.
298:
294:
279:
272:
240:
226:
206:
186:
166:
146:
126:
106:
91:
86:
70:, bishop of
61:
47:
20:
19:
18:
2812:64, 206–208
2687:81, 439–442
2625:82, 199–239
2474:"Sequentia"
2166:: 206–208.
2027:Monatshefte
1231:Charlemagne
1127:-stem form.
444:Poetic Edda
299:mittilagart
2929:Categories
2876:"Muspilli"
2636:5, 304–315
2561:2016-01-26
2441:2016-01-26
2431:1028 360 d
2341:: 439–442.
2282:: 207–235.
2259:: 172–180.
2092:: 414–429.
2055:: 199–239.
2033:: 107–112.
1989:Abhandlung
1258:References
1166:'to kill'.
1094:'Doomsday'
1059:McLintock.
859:by kinsmen
798:as victors
781:Tertullian
577:Christ III
470:Prose Edda
370: 121
360:"muspille"
288:Antichrist
224: 121
204: 121
184: 120
164: 120
144: 119
92:Though in
58:Manuscript
2783:65, 41–60
2272:Muspilli:
1967:Denkmäler
1952:161238576
1797:1 January
1789:see also
793:aruuartit
463:(42
460:Lokasenna
453:(51
423:Old Norse
419:mutspelli
415:mudspelli
405:Old Saxon
340:Etymology
124: 61
2896:Muspilli
2834:97, 5–12
2790:73, 1–32
2777:Muspilli
2735:83, 2–33
2707:muspilli
2630:Muspilli
2533:Archived
2400:Muspilli
2298:Muspilli
2253:Prospero
2249:Muspilli
2004:Muspilli
1928:muspilli
1845:Muspilli
1645:: 33–35.
1243:Muspilli
1212:Muspilli
1164:spildian
1121:Muspilli
989:Muspilli
970:Muspilli
954:Muspilli
944:Muspilli
934:Muspilli
920:Muspilli
913:Muspilli
906:Muspilli
889:Muspilli
874:Muspilli
867:Frankish
851:muspilli
789:gotmann-
785:De anima
760:Muspilli
748:Muspilli
742:, Latin
740:martyres
736:Muspilli
706:and the
686:Muspilli
665:Muspilli
661:Muspilli
654:muspilli
649:Muspilli
642:Muspilli
634:Muspilli
611:muspille
590:muspille
582:Muspilli
546:Muspilli
524:Muspilli
497:Muspilli
435:Ragnarök
427:Muspellr
398:muspilli
390:muspilli
349:Muspilli
311:muspilli
307:stuatago
295:gotmann-
260:Synopsis
107:Muspilli
87:Muspilli
72:Salzburg
48:Muspilli
33:Bavarian
21:Muspilli
2462:. 2004.
2460:Discogs
2180:3723711
2144:: 5–12.
1626:: 1–32.
1536:: 2–33.
1158:, also
1105:against
1092:tuatago
544:Neckel
506:-spill-
450:Völuspá
410:Heliand
68:Adalram
2845:
2823:
2801:
2768:
2753:
2698:
2676:
2662:
2647:
2606:
2495:
2230:
2201:
2178:
1950:
1859:
1741:
1573:
1485:
1452:
1420:
1384:
1355:
1330:
1310:folios
1302:folios
1282:
1208:folios
1186:(1892)
744:testes
502:mundus
457:) and
284:Elijah
24:is an
2222:[
2176:JSTOR
1948:S2CID
1733:[
1565:[
1444:[
1376:[
1274:[
1206:, on
1156:spilð
1107:...'.
1027:Notes
863:leuda
431:Surtr
373:recto
368:folio
227:verso
222:folio
207:recto
202:folio
187:verso
182:folio
167:recto
162:folio
147:verso
142:folio
127:recto
122:folio
2843:ISBN
2821:ISBN
2799:ISBN
2766:ISBN
2751:ISBN
2696:ISBN
2674:ISBN
2660:ISBN
2645:ISBN
2604:ISBN
2493:ISBN
2228:ISBN
2199:ISBN
1857:ISBN
1799:2018
1739:ISBN
1571:ISBN
1483:ISBN
1450:ISBN
1418:ISBN
1382:ISBN
1353:ISBN
1328:ISBN
1306:m.s.
1298:m.s.
1280:ISBN
568:Bede
487:and
439:Odin
394:uora
326:ding
2720:',
2709:',
2632:',
2310:doi
2168:doi
2016:doi
1940:doi
1936:135
1930:".
1901:doi
865:(a
783:'s
695:sar
526:as
2931::
2881:.
2541:^
2458:.
2423:.
2408:^
2339:81
2337:.
2322:^
2306:65
2304:.
2288:^
2280:25
2278:.
2255:.
2174:.
2164:64
2162:.
2150:^
2142:97
2140:.
2128:^
2090:21
2088:.
2076:^
2053:82
2051:.
2039:^
2031:55
2029:.
2012:35
2010:.
1991:7.
1987:.
1975:^
1946:.
1934:.
1913:^
1895:.
1817:.
1690:^
1651:^
1643:99
1641:.
1624:73
1622:.
1597:^
1579:.
1542:^
1534:83
1532:.
1497:^
1464:^
1432:^
1396:^
1245:)
1237:=
1182:—
1140:.
1125:ja
1002:,
974:CD
722:.
656:.
592:.
570:,
566:,
493:.
447::
425:,
251:c.
80:c.
2889:.
2564:.
2501:.
2476:.
2444:.
2421:"
2417:"
2316:.
2312::
2257:3
2236:.
2207:.
2182:.
2170::
2022:.
2018::
1954:.
1942::
1907:.
1903::
1897:5
1865:.
1831:.
1821:.
1801:.
1785:.
1747:.
1491:.
1458:.
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