His son Snorri Thorfinnsson was the first American born ( somewhere between 1010 and 1013 ) to European ( Icelandic ) immigrant parents.

The first part of Snorri Sturluson's Skáldskaparmál is a dialogue between Ægir and Bragi about the nature of poetry, particularly skaldic poetry.

In reference to Fenrir's presentation in the Prose Edda, Andy Orchard theorizes that " the hound ( or wolf )" Garmr, Sköll, and Hati Hróðvitnisson were originally simply all Fenrir, stating that " Snorri, characteristically, is careful to make distinctions, naming the wolves who devour the sun and moon as Sköll and Hati Hróðvitnisson respectively, and describing an encounter between Garm and Týr ( who, one would have thought, might like to get his hand on Fenrir ) at Ragnarök.

Some scholars take the term kenning broadly to include any noun-substitute consisting of two or more elements, including merely descriptive epithets ( such as Old Norse grand viðar “ bane of wood ” = “ fire ” ( Snorri Sturluson: Skáldskaparmál 36 )), while others would restrict it to metaphorical instances ( such as Old Norse sól húsanna “ sun of the houses ” = “ fire ” ( Snorri Sturluson: Skáldskaparmál 36 )), specifically those where “ he base-word identifies the referent with something which it is not, except in a specially conceived relation which the poet imagines between it and the sense of the limiting element '” ( Brodeur ( 1959 ) pp. 248 – 253 ).

At a point in dialogue between the skaldic god Bragi and Ægir, Snorri himself begins speaking of the myths in euhemeristic terms and states that the historical equivalent of Víðarr was the Trojan hero Aeneas who survived the Trojan War and went on to achieve " great deeds ".

The Heimskringla of Snorri Sturluson claims that Svein and Harthacnut had agreed to share the kingdom between them.

Traditionally, following Völuspá and Snorri Sturluson's account in the Prose Edda, scholarship on the Vanir has focused on the Æsir – Vanir War, its possible basis in a war between tribes, and whether the Vanir originated as the deities of a distinct people.

Simek rejects notions of a " vegetation cult " venerating Sif, says that Sif does not appear to have a function, dismisses theories proposing connections between Sif's hair and grain as " over-zealous interpretation ", and theorizes that Snorri invented the story of Sif's shorn locks in attempt to explain the attributes of various gods.

The Skáldskaparmál, in which Snorri relates the fight between Thor and Hrungnir, mentions a very different cause, and Þjóðólfr of Hvinir's Haustlöng only describes the fight without giving the reason for it.

In either case it is often suggested that Snorri invented the battle between Garmr and Týr, since it is not mentioned in the surviving poetry.

Simek says that Snorri ’ s description is further proven faithful by way of the ( above mentioned ) 10th century skaldic kenning “ Kvasir ’ s blood ” ( Old Norse Kvasis dreya ), and that strong parallels exist between the Old Norse tale of the theft of the Mead of Poetry by Odin ( in the form of an eagle ) and the Sanskrit tale of the theft of Soma — beverage of the gods — by the god Indra ( or an eagle ), and that these parallels point to a common Proto-Indo-European basis.

Snorri presents an outline of Norse mythology through a dialogue between Gylfi and three rulers of the Æsir.

Also Snorri Sturluson describes Sweyn and Olof as equal allies when they defeated the Norwegian king Olav Tryggvason in the battle of Svolder 1000, and thereafter divided Norway between themselves.

Óðr is often theorized as somehow connected to Odin ( Old Norse: Óðinn ), the head of the Æsir in Norse mythology, by way of etymological similarities between the two ( Lindow states that the linguistic relationship is identical to that of Ullr and Ullin — often considered as variant names of a single god ), and the fact that both are described as going on long journeys, though Lindow points out that Snorri is careful to keep them apart.

Simek concurs that, if the two gods were identical, Snorri would not have kept them so apart ; yet that the names Odin and Óðr are so close that a lack of connection between the two gods isn't possible.

In Ynglinga Saga in 1220 AD, Snorri Sturluson discusses marriages between Swedish and Finnish royal families.

Tom Shippey has identified the concept of Tolkien's " Light elves " and " Dark elves " as being inspired by the medieval Icelandic Prose Edda by Snorri Sturluson which distinguishes between ljósálfar ( light-elves ) and dökkálfar ( dark-elves ).

" Egils saga " is an epic Icelandic saga possibly by Snorri Sturluson ( 1179-1241 CE ), who may have written it between the years 1220 and 1240 CE.

While earlier sources do not specify who dealt the king his blows, Snorri makes Thorir Hund responsible for the latter, using the spear that had killed his nephew and set the fallout between the kind and Thorir in motion.

Trade flourished between the two realms and Bel-Shanaar and Snorri Whitebeard, High King of the Dwarves, signed a treaty of eternal friendship between Elves and Dwarves.

This might have been a lead-in to a feud between the brothers if Snorri had been dealing with Danish matters rather than Swedish matters.

Snorri Sturluson relates of a meeting between the peasants of Trøndelag and king Haakon I of Norway, a meeting which ended in a religious feud centered around the blót.

The dating of the events in the poem has been confirmed by archaeological excavations of the barrows indicated by Snorri Sturluson and by Swedish tradition as the graves of Ohthere ( dated to c. 530 ) and his son Eadgils ( dated to c. 575 ) in Uppland, Sweden.

Eadgils was buried at Uppsala, according to Snorri Sturluson.

The Skjöldunga saga was used by Snorri Sturluson as a source when he told the story of Aðils ( Eadgils ) and Yrsa.

In Snorri Sturluson's Ynglinga saga, a part of the Heimskringla, he mentions the tradition of Halga, Eadgils and Yrsa, and he based his account on the Skjöldunga saga ( he had access to the now lost original version ).

Much of it sounds like the Apocalypse, by which Snorri, a Christian, can hardly fail to have been influenced.

In the initial stanzas of the poem Asagarth is the capital of Asaland, a section of Asia to the east of the Tana-kvísl or Vana-Kvísl river ( kvísl is " fork "), which Snorri explains is the Tanais, or Don River, flowing into the Black Sea.

Snorri especially quotes passages from Bragi's Ragnarsdrápa, a poem supposedly composed in honor of the famous legendary Viking Ragnar Lodbrók (' Hairy-breeches ') describing the images on a decorated shield which Ragnar had given to Bragi.

Confusion arises from the introduction of the additional term svartálfar " black elves ", which at first appears synonymous to the " dark elves "; Snorri identifies with the dvergar and has them reside in Svartálfaheim.

At that time, versions of the Prose Edda were well known in Iceland, but scholars speculated that there once was another Edda — an Elder Edda — which contained the pagan poems Snorri quotes in his book.

' Puts to sleep all suits ' or ' stills all strifes ' may have been a late addition to the strophe Snorri cites, from which he derives the information.

Snorri ’ s own usage, however, seems to fit the looser sense: “ Snorri uses the term " kenning " to refer to a structural device, whereby a person or object is indicated by a periphrastic description containing two or more terms ( which can be a noun with one or more dependent genitives or a compound noun or a combination of these two structures )” ( Faulkes ( 1998 a ), p. xxxiv ).

Snorri ’ s expression kend heiti " qualified terms " appears to be synonymous with kenningar, although Brodeur applies this more specifically to those periphrastic epithets which don ’ t come under his strict definition of kenning.

Snorri draws the line at mixed metaphor, which he terms nykrat “ made monstrous ” ( Snorri Sturluson: Háttatal 6 ), and his nephew called the practice löstr “ a fault ” ( Óláfr hvítaskáld: Third Grammatical Treatise 80 ).

According to Snorri Sturluson's interpretation of the Völuspá, the three most important norns, Urðr ( Wyrd ), Verðandi and Skuld come out from a hall standing at the Well of Urðr ( well of fate ) and they draw water from the well and take sand that lies around it, which they pour over Yggdrasill so that its branches will not rot.

The Poetic Edda is valuable in representing older material in poetry from which Snorri tapped information in the Prose Edda.

Snorri also reports that she had a net in which she tried to capture men who ventured out on the sea:

Thorfinn and Snorri, with Freydis ( plus possibly Bjarni ), sail down the east coast with 40 men or more and establish a camp on the shore of a seaside lake, protected by barrier islands and connected to the open ocean by a river which is navigable by ships only at high tide.

He spoke of a notation made by Snorri Sturluson, a 13th-century historian-mythographer in Ynglinga Saga which relates that " Odin ( a Scandinavian god who was one of the kings ) came to the North with his people from a country called Aser.

Several historic works, known as the kings ' sagas were written in Norway and Iceland in the 12th and 13th centuries, the best known of which is Snorri Sturluson's Heimskringla ( c. 1220 ).

At that time versions of the Prose Edda were well known in Iceland but scholars speculated that there once was another Edda — an Elder Edda — which contained the pagan poems which Snorri quotes in his Prose Edda.

Finally there is a short piece of prose summarizing the tale of Loki's binding, which is told in fuller form in the Gylfaginning section of Snorri Sturluson's Prose Edda.

First it tells about the Æsir and Ymir, then comes the poetic diction section with the poetic names of many things and lastly a poem called the List of Meters which Snorri composed about King Hakon and Duke Skuli.