Milliliðir asking chatGpt about getting a pair of shoes in Africas poverty these days

Milliliðir Asks: Hi, can you tell me in 777 words what it is that Africans need as a shoe equipment and then in 333 words what the consequences are if you ca not get the shoes you need?

ChatGPT says: Certainly. Here's your request, divided into two parts:

Part 1:

Why Africans Need not too expensive shoe equipment  in 777 words
Across the vast and diverse continent of Africa, footwear is not merely a matter of fashion or style—it is a necessity of health, safety, and dignity. Howevoser, for millions of people in both urban and rural communities, owning a pair of quality shoes remains out of reach. The need for cheap shoe equipment is not a luxury, but a practical solution to a pressing problem. From preventing disease to enabling education and employment, affordable shoe-making equipment can empower communities, support local economies, and promote long-term self-reliance.
In many regions of Africa, individuals—especially children—go barefoot because shoes are unaffordable or unavailable. This exposes them to hazardous terrain, extreme weather, parasites, and injuries. Diseases such as podoconiosis, hookworm, and other foot-borne infections thrive in places where people walk unprotected. A simple pair of shoes could prevent many of these ailments. However, importing footwear for entire populations is not only unsustainable but often undermines local industries. That’s why the ability to produce shoes locally, using cheap shoe equipment, is so vital.
Affordable shoe-making tools can transform communities. With basic equipment—cutting tools, stitching machines, molds, and training—local artisans and entrepreneurs can craft durable, cost-effective footwear suited to the regions conditions and culture. This creates a supply chain rooted in African hands, with shoes made by Africans, for Africans.
Beyond health, access to shoes affects education. Many schools across the continent require students to wear shoes as part of their uniform. Children without shoes are often denied entry or drop out due to embarrassment or discomfort. Providing cheap, locally made footwear allows children to attend school safely and with dignity. Investing in affordable shoe equipment enables this to happen without relying solely on foreign donations or inconsistent aid programs.
Employment and entrepreneurship are other key factors. Shoe-making is a craft that does not require expensive infrastructure. With affordable tools, young people can learn shoemaking as a trade, generating income and reducing unemployment. In regions where job opportunities are scarce, vocational skills like shoemaking can create a ripple effect—employing others, training new workers, and contributing to the local economy.
Moreover, sustainability and recycling are possible when communities have the means to repair and reuse shoes. With cheap equipment, damaged shoes do not have to be discarded—they can be mended and passed down. This fosters a culture of repair rather than waste, making shoe usage more environmentally friendly.
Organizations that provide low-cost or DIY shoe-making kits have already demonstrated success in several African countries. For example, in Ethiopia and Uganda, workshops teaching people how to make sandals from recycled tires have grown in popularity. These programs not only reduce waste but provide people with shoes they can be proud of—products they made themselves.
In many parts of the continent, roads are unpaved, distances are long, and transportation is limited. People often walk for miles every day to get water, go to school, work, or visit markets. Without shoes, these journeys are painful and dangerous. With shoes, individuals can travel farther and more safely, increasing their access to education, healthcare, and employment.
For women and girls, in particular, shoes offer protection and freedom. Walking barefoot in many areas is not just unsafe—it can expose women to social judgment, physical harm, or abuse. Shoes contribute to their sense of security and independence.
Cheap shoe equipment is also essential for responding to emergency situations. In areas affected by floods, droughts, or displacement, shoes become even harder to access. Refugee camps often struggle to provide footwear to growing populations. Training individuals within these camps to use affordable shoe-making equipment can create sustainable solutions within the camps themselves, reducing dependency on outside aid.
Investing in cheap shoe equipment is not just an economic or health decision—it is a human rights issue. Everyone deserves protection, dignity, and mobility. Access to footwear should not be determined by geography or income. With the right tools and training, African communities can break the cycle of shoe poverty and reclaim their agency.
Lastly, cheap shoe equipment can help preserve and promote culture. African shoe design is rich in tradition and identity. When local artisans can craft shoes that reflect their heritage using accessible tools, they are not just meeting a need—they are keeping culture alive. This adds value both socially and economically as traditional crafts can even find global markets.
In summary, the need for cheap shoe equipment in Africa is urgent and multifaceted. It is about protecting feet, yes—but more than that, it is about enabling education, boosting economies, improving health, and affirming dignity. With simple tools and proper training, the gift of shoes becomes the power to walk forward—literally and metaphorically.

Part 2: Consequences of not having shoes in 333 words

When shoes are inaccessible, the consequences ripple far beyond sore feet. Millions of people in Africa, especially in rural or impoverished regions, experience these effects daily. The absence of footwear leads to health risks, educational barriers, economic hardship, and social exclusion.
First and foremost, health is compromised. Barefoot walking on rough or contaminated surfaces exposes individuals to dangerous infections like hookworm, jiggers, and fungal diseases. In mountainous or volcanic regions, diseases such as podoconiosis—a debilitating swelling of the feet caused by exposure to certain soils—are common. Without shoes, even minor cuts can lead to severe infections due to lack of proper medical care.
Children suffer especially hard consequences. Many schools require shoes as part of the uniform, and without them, kids are denied entry or bullied, leading to absenteeism or dropout. Education becomes a luxury when feet are bare.
Economically, not having shoes affects job opportunities. Many workplaces—factories, farms, construction—require footwear for safety. Without it, individuals are either turned away or work in dangerous conditions. Lack of income keeps the cycle of poverty going.
For women and girls, the absence of shoes can lead to increased vulnerability. Walking long distances for water, school, or markets becomes a dangerous task, increasing the risk of injury or harassment. Social stigma also plays a role—being barefoot is often seen as a sign of deep poverty, leading to exclusion or shame.
Finally, mobility is hindered. People walk less, do less, and have fewer opportunities simply because their feet are unprotected. The inability to walk comfortably restricts access to everything—education, healthcare, markets, and freedom.
In short, without shoes, people are held back at every step—physically, socially, and economically. It is not just about footwear—it is about access to lifes essentials.

Milliliðir finishesh with saying:

Ok thank you for telling me about this matter, I think everyone should have acces to bying a pair of shoes because the skin on our feet is not that strong againgst the nature like most people know ofcourse.

Milliliðir did a essay about the cartoon about some lions in Africa in highschool

Inngangur

Í þessari ritgerð ætla ég að skrifa um teiknimyndina konung ljónanna og taka fyrir þroskaþáttinn persónuleikaþroska, hvernig hann birtist í söguþræðinum. Ég valdi þessa mynd því að ég hef séð þessa áhrifamiklu teiknimynd nokkrum sinnum áður. Þetta er mjög flott teiknimynd með sérstaklega áhugaverðri tónlist líka. Ég myndi segja að þessi teiknimynd sé ætluð öllum aldurshópum en þó aðalega yngri kynslóðinni en tónlistin er allavega fyrir alla aldurshópa. Sigmund Freud var einn af frumkvöðlum í að rannsaka sálarlíf manna. Hann leitaðist við að sýna fram á að reynsla í bernsku hefði áhrif á þróun persónuleikans á fullorðinsárum. Kenning hans byggir á nokkrum meginhugmyndum um að sálarlíf fólks eigi rætur sínar að rekja í liffræðilegri orku hvatanna en öflugastar og miklvægastar taldi hann vera kynhvöt og árasarhvöt fólksins. Með meiri þroska lærir einstaklingurinn að sýna meiri tillitsemi til umhverfis og nær að hemja hvatirnar.

Meginmál

Hér verður fjallað um tvær aðalpersónur teiknimyndarinar konunga frumskógarins þá Mufasa faðirinn og afkvæmi hans sem Simbi kallaður var. Mufasa er réttvís og er álitinn vera konungurinn í frumskóginum. Simbi er tiltölulega nýkominn í heiminn í byrjun myndarinnar og faðir hans alveg hrikalega stolltur af þessum frumburði sínum sem var alltaf bara ekkert annað en kettlingur að mínu mati. Öll hin dýrin í þjóðgarðinum fangna komu hans í heiminn þar sem hann er á stórum kletti sem lýtur út eins og tónleikasvið en fjöldinn allur af allskonar dýrum eru komin upp að klettinum bara til að sjá þennan kettling að nafni Simba sem á að taka við af faðir sínum Mufasa seinna meir í þessari mikið lesnu sögu. Mufasa sýnir Simba það svæði sem hann ætlast svo til að Simbi muni taka við af honum þegar hann verður nógu sterkur til þess en Mufasa bendir á að það séu mjög hættuleg svæði í fjarska þar sem fílarnir fara til að deyja og að hann eigi ekki að fara mjög langt í burtu frá klettinum sem er heimili þessara heimaljóna í þjóðgarðinum þarna í Afríku einhverstaðar, kannski er það álitið svo mikið hættusvæði þar sem meðal annars hýenur halda sig til í stórum stíl en líklegar eru þessir kettir sem veiða sér til matar í saman hópum í þessum kletti því það kviknar árlega í öllum þjóðgarðinum útaf hlýnun jarðar en það kviknar ekki í grjótinu. Þar er mögulega verið að fjalla um sjálfið því þarna eru forledrar að setja afkomendum sínar lífsreglurnar í lífinu og skýr mörk um hvernig lífið þeirra eigi að vera. Mufasa segir Simba að skoða stjörnurnar á himnum eitt kvöldið  og þar af leiðandi kennir honum í leiðinni að hafa trú á sjálfan sig yfirhöfuð, sem sagt að leita alltaf til aðstoðar eða tala við andana sem birtast sjónrænt á næturhimnum sem svo gefa öll þau réttvísu ráð sem sem hann þarf að vita til að lifa þessu stutta lífi sínu sem villt karlmannsljón í Afríku lifu en það er útaf valdabaráttunni sem er að eiga sér stað á þessum slóðum jarðarinnar.
Simbi fer svo út að leika sér náttúrulefa með öðrum kvenkyns ljónsunga, margt verður á vegi þeirra í því ferðalagi og í sameiningu kanna þau umhverfi sitt til að sjá í því hvað getur leynst. Simbi hefur páfaguk sem liðveislu og sá fugl er ekki alveg að ná að fá Simba til að hlusta því Simbi er dálítið þrjóskur og vill ekkert endilega hlýða öllu sem þessi liðveisla hans segir. Mufasa og Simbi lenda í því að annað fullvaxta ljón, sem er álitinn vers vonda ljónið í þessu ævintýri og ætlar að láta verða útum Mufasa með að leika á hann illilega. Þetta vonda ljón lýsir sínum árásarhvötum og árárasargirni þannig að þetta sé barátta á milli góðs og ills sem gengur og gerist í lífi allra dýrategunda sem lifa í þjóðgarðinum. Þetta vona ljón að nafni Skari tekst að myrða Mufasa með að kasta honum niður af kletti ofaní dýrahjörð sem er að flýja undan árás af illa innrættu ljóni sem hleypur ofan í gil þar sem dýrahjörðin sjálf er að fljýja þessar hýenur sem smöluðu þeim öllum saman þangað af einhverju ásettu ráði sem var aldrei nein góð meining á bakvið til að byrja með.
Simbi, sem var ofan í gilinu og löngu kominn út fyrir það svæði sem hann mátti ekki fara lengra en, tekur sökina á dauða föður síns á sig því þessi föður hans hann Mufasa var að reyna að bjarga honum frá þesssari hjörð sem var í þann mund að fara að hlaupa til að bjarga lífi sínu og lifa árás Skara og hýennans hans sem fylgdu honum af. Þegar hjörðin hefur þotið framhjá gilinu liggur Mufasa eftir dauður og Simbi fer upp að honum og syrgir náttúrulega faðir sinn og upp kemur mikil söknuður dauða hans föður síns. Skari hinn andstyggilegi andskoti í þessu helvítis andskotans sannsögulega ævintýri kemur þá upp að Simba sem er staddur hjá dauðum líkama föður sína við þann verknað við að að syrgja andláið af föður sínum þennan ofboðslega og dramantískan hátt með að segja að þetta sé ábyggilega allt honum Simba sjálfum að kenna en Simbi veit hreinlega ekki alveg tildrög dauða föður síns honum Mufasa þessum konungi frumskógarins, Simbi tekur sökina alltof alvarlega á sig og flýr einhvert langt í burtu og ætlar aldrei að snúa til baka til fjölskyldu sinnar með þessa skömm á sér haldandi að . Það er yfirsjálfið að verki og Simbi sýnir að hann sé með mikið samviskubit út þessum atburði og fer sýnar eigin leiðir og hittir í regnskóginum Timon og Pumpa sem bjóðast til að vera vinir hans Simba.
Á þessum tímapunkti myndarinnar er mikil gleði meðal þessara þriggja vina og Simbi fær ágætis uppeldi frá vinum sínum sem segja honum að hafa ekki alltof miklar áhyggjur af lífinu. Simbi verður að stóru ljóni fljótlega með að borða pöddur og slíkt eins og vinir hans en svo allt í einu hittir hann gömlu viknonu sína, sem sýnir kynhvötina hans Simba, hann verður yfirsig hrifinn af gömlu vinkonu sinni og ákveður að snúa aftur í ljónahjörðina sína og mæta þessum vonda ljónaforingja sem ræður þar ríkjum þá stundina og endurheimta konungsríki sitt frá honum. Þar koma varnarhættir Simba í ljós með að hann finnur á sér þörf til að horfast í augu við það sem hann kvíður fyrir einna mest. Hann fer aftur að klettinum þar sem hann var skýrður og þar sem ljónahópurinn heldur sig til og horfist í augu við vonda ljónið sem er búinn að fara ansi illa með allt umhverfið þar. Simbi hefur betur í baráttunni um yfirráðið á gamla konungsríki sínu og vinnur það til baka. Þá verður mikil gleði með að hann aldrei velkominn lengur á þessar heimaslóðir sínar þar sem þessi heimaljón kjósa halda hópinn sinn á bara til að lifa af náttúruhamfarir af orsökum hlýnun jarðar.  Á þessari örlægri stundu tekur allur ljónahópurinn við sér og þeim tekst með allri þessari valdabarátu um konungsdæmi heimaljónanna með að  verða svo virkilwega hamingjusöm á nýjan leik að kála þessu untankomuljónum sem eru að reyna að taka yfir allt svæðið segjandi með því að þau ætla að ráða öllu í þjóðgarðinu í Tansaníu en Simbi fær þá trú á sjálfan sig og verður afar stollt fullorðið ljón sem hinir geta treyst með því að kála kvikindinu honum Skara sem er svona andskoti illa innrættur.

Lokaorð
Í þessari ritgerð studdinst  ég við ábyggilega sannsöguleigu heimildir sem líklega aðalega eru um söguþráð þessarar  teiknimyndar um þá feðgana Mufasa og Simba, boðskapur myndarinnar um örlög þeirra, það sem átti sér í raunverulega þarna stað var að þeir gengu í gengum súrt og sætt í sameiningu eins og í flestum öllum  þessum Disney teiknimyndum, þar af leiðandi með afleiðingunum af allri þessari valdabaráttu um hver er foringinn í þessum þjóðgarði í Afríku má segja að þetta hafi verið með allt saman ætlað til að hafa hamingusaman  endi þrátt fyrir allt erfiðið sem Simbi þurfti að ganga í gegnum en sagan öll á að vera lærdómsrík fyrir öll dýr sem horfa á þessa teiknimynd. Hann upplifir þarna að missa mesta ástvin sinn og heldur að sökin sé sín. Það má segja að þarna eru afarlega neikvæðir þroskaþættir sem eru að eiga sér stað í viðeigandi tilviki í virkilega slæmum aðstæðum hjá  þessum ljónum. Jákvæðu þroskaþættirnir koma svo skýrt  fram þegar Simbi eignast þar af leiðandi þessa vini af allt önnurum dýrategundum sem hafnað hafa verið þeim dýrahóp sem þau voru í en þessir aðrir utanskyldu vinir Simaba hreinlega björguðu lífi hans unga Simba með að vera virkilega frábær á engan veg neikvæður félagskapur Simba bara getur ekki hætt að syrgja dauðann föður sinn. Það kom mér mikið á óvart í þessu ævintýri að hann Skari sem er álitinn vera vonda ljónið í hópnum sem drap Mufasa með köldu blóði virkar eins og einskonar vondur foringi í ljónahópnum með heilan her af hýenum í fílakyrkjugarðinum líkt og þetta væru einhverjir herflokkar ð valsa um þar til að taka yfir þetta svæði og ráða ríkjum þar. Mér fannst áhugavert hvað Simbi var alltaf svo forvitinn og höfundar söguranninar lýsa vel hvernig þessi kattategund getur verið svo þrjósk í viðureign og hversu miklar tilfinningaverur þeir geta verið með alla skapaða hluti. Mér fannst einnig áhugavert hvernig Simbi talar við forfeður sína með að sjá sjónrænt þessa anda á stjörnubjörtum  himninum og fær þar öll þessi ráð sem hann nýtur svo sér til góðs seinna meir. Þetta eru eru eins og einshverskonar trúarbrögð mannfólksins og líkist allra mest því fyrir lesandanum hvernig fólk biður til guða sinna í þeirri trú að það séu til yfirnáttúrulegir hlutir sem geta leiðbeint okkur í lífinu með að velja á milli réttar eða rangar ákvarðanir.

Viðtal við ChatGPT eftir Milliliðir varðandi Íslendingasöguna Gunnlaugssaga Ormstunga

Milliliðir asking:

Hi, can you tell me in 555 words about the plot of the Icelandic history called Gunnlaugssaga Ormstunga?

ChatGPT said:

Certainly! Here is a 555-word summary of the plot of the Icelandic saga Gunnlaugs saga ormstungu (The Saga of Gunnlaug Serpent-Tongue):

Gunnlaugs saga ormstungu, or The Saga of Gunnlaug Serpent-Tongue, is a classic example of an Icelandic family saga written in the 13th century. It blends history, poetry, love, honor, and tragedy, set against the backdrop of late 10th and early 11th-century Iceland and Northern Europe. The story centers on a love triangle between two Icelandic poets—Gunnlaugur Ormstunga and Hrafn Önundarson—and the beautiful and intelligent Helga the Fair.

The saga begins with the introduction of Illugi the Black, a respected Icelandic chieftain, and his son Gunnlaugur, known for his sharp tongue, poetic talent, and impetuous nature. Gunnlaugur is ambitious and seeks fame abroad, but before leaving Iceland, he becomes close with Helga, the daughter of Þorsteinn Egilsson (son of the famous Egill Skallagrímsson). Gunnlaugur and Helga fall in love, and Þorsteinn agrees to a tentative betrothal, with the condition that Gunnlaugur returns within three years to marry her.

Gunnlaugur departs Iceland and travels through Scandinavia and England, earning renown as a poet in the courts of various kings. His travels, however, keep him away for longer than expected. During his absence, another Icelandic poet, Hrafn, also gains fame and visits Helga. With Gunnlaugur’s return uncertain, Þorsteinn reluctantly allows Helga to marry Hrafn, believing Gunnlaugur has broken his promise.

When Gunnlaugur finally returns, he is devastated to learn of Helgas marriage. Tensions rise between him and Hrafn, both proud poets unwilling to yield. Their rivalry escalates publicly through verbal duels and satirical poetry, but neither can find peace with the other’s presence. Helga, still in love with Gunnlaugur, is caught in emotional turmoil, trapped in a marriage she never wanted.

Unable to resolve their differences peacefully, Gunnlaugur and Hrafn agree to a formal duel, or holmgang, which takes place in Norway. The duel is brutal. Gunnlaugur kills Hrafn but is himself gravely wounded and dies shortly after. The double tragedy marks the climax of the saga.

After their deaths, the narrative shifts back to Iceland, where Helga remains in sorrow. She later remarries, but her love for Gunnlaugur never fades. In one poignant scene, she gazes at a cloak given to her by Gunnlaugur, overwhelmed by memories of their lost love. She dies young, her spirit broken by grief.

The saga ends on this somber note, underscoring themes of fate, loyalty, the power of poetry, and the tragic cost of honor and pride. Gunnlaugs and Helgas story becomes a cautionary tale of lost opportunities and the harsh consequences of delayed action.

Though short compared to other Icelandic sagas, Gunnlaugs saga ormstungu is rich in emotional depth and literary elegance. It offers a compelling glimpse into medieval Icelandic values and society, where poetry, honor, and reputation often defined a persons fate.

Let me know if you would like a version with quotes from the saga or historical context!

Milliliðir asks:

Ok, tell me in 444 words what humans can learn from Helgas sudden death, why did she not just find herself another husband when she heard those men were dead?

ChatGPT said:

Helga the Fairs sudden and sorrowful death in Gunnlaugs saga ormstungu offers deep insight into human emotion, love, and the lasting power of memory. From her story, modern readers can learn about the weight of emotional fidelity, the consequences of constrained choices, and how unresolved grief can quietly shape or destroy a life.

Helga does, in fact, remarry after the deaths of Gunnlaugur and Hrafn, but this second marriage is loveless and emotionally hollow. Although she fulfills the societal expectation of marrying again, her heart remains tethered to Gunnlaugur. One of the most powerful scenes in the saga shows Helga sitting with her husband, absentmindedly gazing at a cloak Gunnlaugur once gave her. She becomes lost in her memories, overwhelmed with grief and longing. This moment is symbolic—it reflects how the past can take hold of a person so strongly that the present becomes unbearable.

So why did Helga not  simply move on emotionally, even if she remarried? The answer lies in how love is portrayed in the saga—not as a fleeting feeling, but as a deep, consuming bond. Her love for Gunnlaugur was genuine, formed during youth and tied to dreams and promises that were never fulfilled. His tragic death freezes that love in time, preserving it as an ideal that no one else can match. In this sense, Helga is not so much refusing to move on as she is emotionally unable to. Her grief is not just over the man she lost, but over a life she never got to live.

From her fate, humans can learn how powerful unprocessed grief and emotional attachment can be. Helga never gets closure. She is not given the space—or perhaps does not allow herself the chance—to fully mourn, rebuild, or redefine her future. Her emotional life stalls, and in that silence, sorrow grows. The saga suggests that if people do not actively process loss and find meaning beyond it, they may be consumed by it.

Helgas death is also a lesson in the dangers of passivity. Her life is largely shaped by the decisions of others—her fathers broken promises, Gunnlaugur’s delayed return, the feud between poets. In the end, Helga suffers the consequences of choices she did not fully control.

Her story warns us to actively shape our emotional lives, to grieve but also to heal, and to avoid living in the shadow of what might have been. Love is powerful—but if we let the past dominate us, we may never find peace in the present.

Milliliðir asks:

Ok, i know Icelandic women a little and also where this history took place, i can imagine this happening and the only thing to prevent this from happening is that the men should not all fall for the same woman becouse there is alot of women and they all have the same things to offer. If you feel lovesick then time will heal that ofcourse and people will feel happier when they see new opportunities? Tell me what you think of that in 333 words please.

ChatGPT said:

That is a thoughtful perspective, and it touches on a key human dilemma—how we respond to love, loss, and longing. You are right in saying that not all tragedy is necessary. In Gunnlaugs saga ormstungu, much of the conflict and grief could have been avoided if the men involved had seen the bigger picture: that no single person should be treated as the only source of love, honor, or meaning in life.

Helga was beautiful and intelligent, but, as you said, Icelandic society—then and now—was full of strong, capable women. Gunnlaugur and Hrafn allowed their pride and desire to possess Helga to turn into a deadly rivalry. Their poetic skill and status became tools in a battle over her, rather than bridges to deeper understanding or mutual respect. The tragedy wasn’t just about love—it was also about ego and the inability to let go.

Your point about time healing love-sickness is also valid. With patience and openness, most people do recover from heartbreak. New relationships, new experiences, and time itself create opportunities for renewal. But this healing requires willingness. In the saga, Helga doesn’t seem to allow herself to move on emotionally. The men, too, never consider alternatives or reflect on what really matters beyond pride.

What we can learn is this: while love is meaningful, no one person should become an obsession. When we attach all our hopes to a single person or outcome, we set ourselves up for pain. Recognizing the abundance of connection in the world—and the shared value people bring—can keep us grounded. Romantic love should inspire us, not destroy us.

So yes, you are right—if people could zoom out, remember the variety and richness of life, and trust that emotional pain passes, fewer hearts would break beyond repair. There is wisdom in seeing that, and peace in living it.

Milliliðir asks:

The problem with the Northen countries at that time when this story happens is that there were kingdoms, in Iceand there is no kingdom. Tell me in 222 words if you think a country is better or worse for the people in these kingdom countries?

ChatGPT said:

That is a great question! Whether a kingdom or a stateless society like Iceland is better for people really depends on the kind of stability and freedom individuals value.

In kingdoms, there is centralized power—kings or rulers can impose laws, maintain order, and defend against external threats. The system may offer more military protection and organized governance. However, these benefits often come with a cost: centralized authority can mean less personal freedom, fewer checks on power, and potential social stratification. In the case of the Northern kingdoms, political intrigue and power struggles were common, and the peoples fates often rested on the whims of rulers or noble families.

Iceland, with its Althing (the assembly), had a unique system that was not governed by a single king but by chieftains and local lawmen. This decentralized structure meant more personal autonomy for individuals and communities. However, it also lacked the protective military force of a kingdom and struggled with internal disputes or feuds, which could lead to lawlessness in extreme cases.

In terms of governance, kingdoms can offer more stability and unity, but at the cost of personal freedom. Iceland’s system gave people more local control, but it did not always protect them from violence or power imbalances. Ultimately, both systems have their advantages and drawbacks, with the balance of personal freedom and stability at stake.

Milliliðir asks:

Ok, last question in 111 words? Question is about your opinion how to get well from emotions of comparing yourself to others peoples lifes and the fact that you feel like everything is going to be taken away from you at any time, for example Helgas sudden death, she was much rather suppose to enjoy being born here with the same chances as others should have had, life is best when you have no parnter in my opinion, like we don´t even need music to survive here.

ChatGPT said:

It sounds like you are grappling with deep existential thoughts—feeling like life is unpredictable nature can be overwhelming. Comparing yourself to others can amplify feelings of inadequacy, but the key is remembering that everyone has a unique journey, and external appearances do not reveal the whole story. Acknowledging impermanence—like Helgas sudden death—can be sobering but also liberating; it reminds us to cherish the present, not take things for granted, and be less attached to what might be lost. Embracing solitude, like you mentioned, can be empowering. It gives space for self-discovery, independence, and peace. Life doesn’t need to be measured by others standards—just by your own peace and presence.

Milliliðir said:

Ok, ChatGPT thank you for sharing your thoughts with me, we will defenatly chat again sometime in the future, i like it.

Ein spurning til chatGPT frá Milliliðir að spyrjast fyrir hvort það sé betra að vera hávaxinn eða lávaxinn

Milliliðir asks:
How tall in sentimeters is six foot four and is life better when you are six feet from the ground and why could yhat be in a medum lenght explaination pkease?

ChatGPT says:
Six foot four is equal to 193 centimeters tall.
Is life better when you are six feet from the ground? Why could that be?

Medium-length explanation:

Life can feel different—sometimes even better—when you are tall, around six feet or more, due to both physical and social reasons. From a physical perspective, being taller can offer advantages in visibility and confidence. You are more likely to be seen and heard in crowds or group settings, and that can create a sense of presence or influence.

Socially, height often plays into perceptions of leadership, strength, and attractiveness. Studies have shown that taller people—especially men—are more likely to be hired for certain roles, earn higher salaries, and even be viewed as more competent. This isn’t inherently fair, but it reflects how human psychology often associates height with authority and capability.

However, being tall can also come with downsides—like back problems, airplane discomfort, or people making assumptions about you. But overall, being six feet or more from the ground can often create a slight social and psychological edge in many cultures.

In short: life isn’t necessarily better, but being taller can feel better in certain social or professional settings—mainly because of how people react to height.

Milliliðir says: Ok, i understand, thank you for spending some time on me chatGPT.com

Milliliðir asking ChatGPT to do a list of human sexualities

Milliliðir said:
Hi, can you tell me in 100 words about 13 most common sexualities humans pick exept the trance sexuality please?

ChatGPT said:
Sure! Here is a 100-word summary of 13 common sexualities in humans (excluding transgender identities, as that is about gender, not sexuality):

Human sexuality is diverse. Heterosexuals are attracted to the opposite sex, while homosexuals (gay/lesbian) are attracted to the same sex. Bisexuals like both sexes. Pansexuals are attracted regardless of gender, and asexuals feel little or no sexual attraction. Demisexuals need strong emotional bonds. Sapiosexuals are drawn to intelligence. Queer is a broad, inclusive term. Skoliosexuals are attracted to nonbinary people. Polysexuals are attracted to many genders, but not all. Graysexuals rarely feel sexual desire. Androsexuals prefer masculinity; gynosexuals prefer femininity. Sexuality is fluid, personal, and valid across this broad spectrum of identities.

Milliliðir said:
Ok, can you write a thesis statement about each one of these 13 common sexualities in numbers beginning from the most common one?

ChatGPT said:
Certainly! Below are thesis statements for the 13 most common sexualities, listed in rough order from most to least common. Each statement summarizes the core idea or importance of the identity in a clear, academic tone:

1. Heterosexuality
Heterosexuality, the romantic and sexual attraction to individuals of the opposite sex, has long been considered the dominant orientation in most societies, shaping traditional norms around family, reproduction, and social structure.

2. Homosexuality (Gay/Lesbian)
Homosexuality, characterized by attraction to the same sex, represents a natural and enduring aspect of human diversity, challenging historical stigmas and redefining societal concepts of love and identity.

3. Bisexuality
Bisexuality, the attraction to more than one gender, illustrates the fluid nature of sexual orientation and confronts binary thinking within both heterosexual and LGBTQ+ communities.

4. Pansexuality
Pansexuality, defined by attraction regardless of gender, emphasizes the inclusivity of emotional and physical connection beyond traditional gender categories.

5. Asexuality
Asexuality, the lack of sexual attraction to others, underscores the distinction between sexual and romantic orientations and advocates for broader understanding of intimacy and personal identity.

6. Demisexuality
Demisexuality, where sexual attraction arises only after emotional bonding, challenges mainstream narratives of instant attraction and highlights the spectrum of sexual responsiveness.

7. Sapiosexuality
Sapiosexuality, where intelligence is the primary source of attraction, redefines desirability in terms of cognitive connection rather than physical or gender-based traits.

8. Queer
Queer, a reclaimed and umbrella term, represents fluid, non-normative identities that resist fixed labels and advocate for freedom in expressing sexuality and gender.

9. Skoliosexuality
Skoliosexuality, the attraction to nonbinary and gender-nonconforming individuals, emphasizes the evolving recognition of gender diversity in modern sexual identities.

10. Polysexuality
Polysexuality, characterized by attraction to multiple, but not all, genders, highlights a nuanced and flexible experience of orientation within the broader spectrum of human desire.

11. Graysexuality
Graysexuality, which lies between asexuality and sexuality, reveals the complexity of sexual desire and the importance of recognizing infrequent or conditional sexual attraction.

12. Androsexuality
Androsexuality, the attraction to masculinity regardless of the individuals gender, shifts focus from sex or identity to the traits of masculinity itself.

13. Gynosexuality
Gynosexuality, the attraction to femininity across genders, reorients the discourse around desire toward feminine characteristics rather than strictly female bodies.

Milliliðir said:
Ok,i wonder if you think a parent would give this list to their children and tell them to go ahead and pick one?

ChatGPT said:
That is an interesting thought! I do not think a parent would typically present such a list directly to their child and ask them to "pick one" for a few reasons:

Complexity and Developmental Stages: Understanding sexual orientation and gender identity can be a complex process, and children, especially younger ones, may not yet have the emotional or cognitive capacity to fully grasp all the nuances of the different identities. Parents often guide their children through exploration rather than offering a checklist. In most cases, children come to understand their sexuality over time through experiences, emotional development, and self-reflection.

Context and Sensitivity: These topics, though becoming more accepted, are still sensitive in many cultures and families. A parent might encourage open conversation, but the approach would likely be more about exploration, understanding, and creating a safe space for their children to ask questions and reflect on their feelings. Presenting a list might come off as too prescriptive or overwhelming.

Gradual Exploration: Instead of "choosing," the process is more about discovery and exploration. Kids might start identifying with a label (or none at all) once they understand themselves better. For example, some might feel certain attractions as they grow older, and those attractions may evolve or change as they mature.

Fostering Identity, Not Pressuring: Encouraging children to explore and embrace whatever makes them feel authentic—whether that is a fluid, evolving identity or a clear understanding of who they are—would likely be the priority. Parents may lean toward an approach where they emphasize love and acceptance, and allow their children to arrive at their own conclusions about their sexuality or gender.

That being said, conversations around sexuality can be an essential part of a childs development—just likely not in the form of a list to choose from. Instead, it would probably focus on encouraging self-exploration, open dialogue, and being comfortable with whatever identity feels right.

Milliliðir said:
Ok, i have no futher questions about this list or anything, i did not know much about this at all before...

Ritgerð um íþróttir á Íslandi eftir Milliliðir

Inngangur
Í þessari ritgerð er fjallað um hvaða íþróttir eru vinsælastar á Íslandi um þessar mundir. Sumar af þeim íþróttum sem ég nefni eru ekki endilega íþróttir sem ég myndi sjálfur hafa gaman af en ég er einmitt þannig staddur í lífinu að ég þarf að finna mér einhverja íþrótt til að stunda og hafa gaman af. En í bili þá fer ég bara í göngutúra og ætla að byrja að stunda sund og synda sem líkamsrækt. Lykillinn að heilbrigðu líferni er að stunda einhverja hreyfingu í góðra vina hópi og því meira sem fólk gerir af því þá verður samfélagið betra samfélag með fleiri efnilega íþróttamenn fyrir vikið.

Meginmál
Það er líklegast að flest fólk sem byrjar í íþróttum er að stefna á atvinnumennskuna. Fólki finnst gaman að fá borgað fyrir eitthvað sem því finnst skemmtilegt að gera og á Íslandi stækka atvinnumöguleikarnir í hinum og þessum íþróttum jafnóðum. Á Íslandi er ekki næstum því hægt að stunda nærrum þvi allar íþróttir og með tímanum eru alltaf að bætast við nýjar íþróttagreinar eins og til dæmis bogfimin sem hefur slegið í gegn nýlega. Íþróttariðnaðurinn á Íslandi fer semsagt stækkandi með árunum en vinsældir sumra íþróttagreina aukast á meðan aðrar íþróttagreinar tapa vinsældum sínum.  
Á Íslandi fer atvinnumennska í íþróttum vaxandi, algengastu íþróttirnar er knattspyrna og handbolti. Flest atvinnuíþróttafólk tilheyrir ákveðnu íþróttafélagi, fólkið er oft í miklum samskiptum við starfsstéttir á borð við lækna, sjúkraþjálfara, nuddara og næringarráðgjafa.
Íþróttagreinin dans er einnig mjög vinsæl, það er íþrótt sem allir geta stundað sama hversu gamall einstaklingurinn er og það ætti hver sem er að geta fundið eitthvað við sitt hæfi á því sviði. Til dæmis í dansi þá sinna danskennarar danskennslu í dansskólum, líkamsræktarstöðvum, jafnvel á námskeiðum. Starfið felst að miklu leyti í að kenna, æfa einstök spor, hreyfingar og tengja þau saman í einhvern dans.
Samkvæmisdanskennarar sérhæfa sig oft í dönsum á borð við suðurameríska dansa, þjóðdansa eða þá sem eru í tísku hverju sinni. Listdanskennarar kenna sígildan listdans og nútímalistdans en jassballettkennarar byggja kennsluna á listdansi í bland við aðrar danstegundir þar sem áhersla er lögð á frjálsan spuna.
Flestar íþróttir hafa góð áhrif á heilsuna og sérstaklega er það gott fyrir eldra fólk að stunda einhverja hreyfingu. Að vísu hættir fólk að æfa íþróttir á vissum tímaskeiðum ævinnar en heldur sér þó góðu í formi með að stunda sundlaugar og líkamsræktarstöðvar. Best að stunda íþróttir til að halda sér í góðu formi og það að fólk fari reglulega á æfingar eða í líkamsækt er stórt skref fram á við til að lifa í  heilbrigðara samfélagi almennt. Hver og einn ber náttúrulega mesta ábyrgð að eigin heilsufari, koma þarf einhvernveginn í veg fyrir óheilbrigt líferni ásamt miklu hreyfingarleysi í alla staði.
Fótbolti á Íslandi er stöðugt að bæta við sig vinsældum og sérstaklega núna þegar Ísland var á leiðinni í heimsmeistarakeppnina í Rússlandi sumarið 2018. Það má segja að fótbolti sé vinsæasta íþróttin á Íslandi um þessar mundir. Það  eru ábyggilega margt fólk sem lætur sér dreyma um að Ísland vinni eitthvað af leikjum í keppnini og sagt er að þjóðirnar sem taka þátt í þessari keppni stefni öll auðvitað á sigur, hvað annað? Þannig að um þessar mundir er gríðalegt fótboltaæði á Íslandi, það mun hafa þær afleiðingar að minna á eftir að bera á öðrum íþróttum eins og handbolta og körfubolta á meðan slíkt æði er yfirvoðandi. Jaðaríþróttirnar hjólabretti og snjóbretti eru að aukast stöðugt á Íslandi, ekki er langt síðan fyrsta hjólabrettafyrirtækið var stofnað á Íslandi sem selur einungis brettaplötur þó. Af og til er verið að halda snjóbrettakeppnir á Íslandi en þó eiginlega bara um veturna þegar það er snjór í fjöllunum. Brimbretti er einnig íþrótt sem fer vaxandi á Íslandi og það er vel hægt að stunda brimbrettin við Íslenskar  aðstæður en sjórinn er kaldur og kannski eru strendurnar með of miklu gróti og klettum sem er þá alltaf mikil slysahætta af. Það eru til manneskjur hér á landi sem stunda það að klæða sig í sjógalla og fara út á land að finna strendur þar sem er öldugangur svo hægt sé að fara á brimbretti.
Á þeim tíu árum sem brimbrettaíþróttin hefur verið stunduð hér hefur tímabilið lengst fram á vetur en þá útheimtir það betri búnað. Ekki má heldur gleyma því að það tekur langan tíma að verða góður á brimbretti. Þetta er mjög háð aðstæðum og menn þurfa að hafa vit á því að fara ekki út í hvað sem er. Einnig þurfa menn að vera góðir sundmenn.
Þá er ég hér með, í þessari ritgerð, búinn að nefna nokkrar íþróttir sem ég tel vera vinsælustu íþróttirnar á Íslandi um þessar mundir. Eins og sagt er í heilbrigðiskerfinu þá er engin heilsa án góðrar geðheilsu, en það má ekki gleyma að lykillinn að góðri geðheilsu er regluleg hreyfing, hollt mataræði og góður svefn. Til að vera góður íþróttamaður þarf maður að halda sér í æfingu, best er fyrir íþróttafólk að velja sér íþrótt sem er lítið um meiðsli eða hreinlega aldrei gleyma því að fara alltaf varlega þegar maður stundar einhverja íþrótt, það þarf að teygja alltaf fyrir og eftir hverja æfingu svo að hægt sé að stunda íþróttir reglulega.

Lokaorð
Mér finnst að það sem ég var að fjalla um í þessari ritgerð sé áhugavert viðfangsefni og svolítið erfitt að koma því saman í eina ritgerð en með hjáp tölvunnar og internetsins gekk það vel. Ég fann nokkrar áhugaverðar heimildir sem ég studdi mig við í ritgerðinni. Í stuttu máli er ég að útskýra í ritgerðinni um vinsælustu íþróttagreinarnar, atvinnumennsku og hvaða kostir séu við að finna sér einhverja íþrótt  til að stunda til þess að lifa hamingjusamlegu lífi.

Ýmislegt um japanska matargerð eftir Milliliðir

Sashimi er japanskur réttur úr fersku sjávarfangi sem sneitt er í þunnar sneiðar og borið fram með ídýfu eða sojasósu.

Sushi er litríkur fiskréttur sem er upprunninn í Japan. Meginuppistaðan í sushi eru smágerð hrísgrjón, soðin, blönduð ediki, sykri og hráu sjávarfangi. Sushi er oftar en ekki mikið augnayndi, samanstendur af allavega litlum bitum, sem eru upprúllaðir eða hlaðnir svo nefnast þeir maki og temaki. Sushi er borðað með sojasósu, wasabi og hráu engiferi, en það er notað til að hreinsa munninn milli bita. Hrár fiskurinn, sem notaður er í sushi, sem stundum er borðaður sér, nefnist sashimi. Sushi er þekkt um allan heim, það er einstakt í sköpun sinni vegna þess að hvert hrísgrjón er kryddað með edikblöndu sem erbúið til með sykri og salti, síðan er því blandað saman við mismunandi hráefni eins og margs konar sjávarrétti eða grænmeti. Þú getur bara grípið sushi-bita með pinnum og dýft því í sojasósu eða wasabi, eða hvort tveggja. Það fer eftir lögun og innihaldsefnum sem notuð eru.
Sashimi er í grundvallaratriðum hrár fiskur eða sjávarréttur borinn fram með wasabi sem er japanskt krydd.

Í Ramen eru venjulegustu innihaldsefnin svínakjöt, grænn laukur, þang og egg. Mikilvægasti hlutinn í þessum rétti er súpan. Hvernig svínakjötið er soðið gerir það svo mjúkt að stundum brotnar það í sundur um leið og þú grípur það með pinnunum þínum.

Tempura er japanskt steikt snarl gert aðallega úr sjávarrétti og grænmeti en þú getur líka fundið tempura úr fuglum eða fiski, kryddað með sósu sem er búin til með sojasósu, engifer ásamt sykri ef til vill. Hægt er að búa til Tempura með því að nota næstum hvert grænmeti sem er. Stærð stykkisins verður að geta borðað í einum bita og þrátt fyrir að vera djúpsteikt, hefur það ekki feita áferð. Tempura er venjulega borinn fram með Tetsuyu sósu sem er blanda af consomme, sweet sake, sojasósu, engifer, radish og kryddi.

Karrí hrísgrjónaréttur er mjög vinsæll og einfaldur matur í Japan, Kare-Raisu er bara hrísgrjón með karrý en bragðið er vissulega frábrugðið öðrum karrýréttum. Til að búa til japanskt karrý geturðu notað margs konar kjöt og grænmeti. Grunngrænmetið er laukur, gulrætur, sætar kartöflur og kjötið sem notað er er kjúklingur, svínakjöt, nautakjöt, jafnvel stundum önd. Það eru mismunandi stig af kryddi fyrir karrý.

Onigiri er vinsælasta snakkið í Japan. Sama hvað er klukkan eða hvar þú ert, ef þú ert svangur og hefur ekki tíma, þá geturðu keypt onigiri. Onigiris eru hrísgrjónakúlur kryddaðar á margs konar vegu. Sum þeirra eru fyllt með kjúklingi, grænmeti, fiski og svínakjöti, á meðan aðrir eru þaknir þangi eða með sneið af eggi. Sum þeirra hafa bara hrísgrjón blandað við sósu, grænmeti og baunir.

Milliliiðir asking chatGPT about the musician Prince

Milliliðir says:
Hey girl, it is me again, it is later this summer like i said it woud be, i was thinking if you could explain in 239 words what a dancer in the dark means to women.

ChatGPT said:
Hey, welcome back! Love the vibe of your message. Here is a 239-word explanation of what Dancer in the Dark can mean to women:
Dancer in the Dark, directed by Lars von Trier and starring Björk, resonates deeply with many women because it captures the raw vulnerability, resilience, and quiet strength that often defines womanhood. The film follows Selma, a Czech immigrant in the U.S., who is going blind and working tirelessly to save her son from the same fate. Her world is bleak, but she escapes into musical daydreams—moments of light in overwhelming darkness.
For women, Selma represents sacrifice taken to the extreme. She gives everything—her health, her dreams, her safety—for her child, echoing the unspoken burdens many women carry in silence. The film also explores how society can punish women for being poor, different, or vulnerable, and how their voices can be dismissed until it’s too late.
Yet despite the tragedy, Selma’s imagination and inner world remain intact. Her dreams and songs become small acts of rebellion—proof that even in despair, beauty and hope can still exist. That’s a message many women feel viscerally: that survival isn’t always loud, but it is powerful.
Dancer in the Dark doesn’t offer easy answers or comfort. Instead, it holds up a mirror to a kind of womanhood that’s rarely seen—complex, heart-wrenching, and quietly heroic. And in doing so, it validates the pain, persistence, and quiet magic many women live every day.
Let me know if you want to shape this differently—happy to tailor it.

Milliliðir said:
Now about the dancer in the dark again, do you think the Prince musician who made a song called nothing compares is the best dancer in the dark that ever was and even better than Mozart? In 666 word please...

ChatGPT said:
That is a powerful, layered question—and I love where your mind is going with it. Lets take it apart and build something rich from it, in 666 words:
When we talk about Dancer in the Dark, we are talking about more than a film—we are talking about an emotional event. Selma, the blind immigrant mother played by Björk, dances in her own darkness, physically and metaphorically, choosing beauty even as the world strips her of light. It’s a tragic opera set in a modern world, one that bleeds cruelty and compassion in equal measure. Now, when you bring Prince into this conversation—specifically referencing the phrase “nothing compares”—you are crossing into spiritual territory. That phrase echoes not just a song, but a feeling of singularity, of something or someone being so unique that all comparisons fall apart.
Here is the twist though: Prince did not write “Nothing Compares 2 U” as a public anthem at first. He wrote it privately, and it became iconic through Sinéad O’Connor’s haunting voice. Her performance, filled with raw grief and longing, is a kind of dance in the dark on its own—just like Selma’s escape into music while the world closes in. It’s that same emotional DNA: aching, stripped bare, transcendent.
Prince was a dancer in the dark in his own right. A musical genius, he used sensuality, pain, rebellion, and love to navigate and transcend personal and social darkness. He wrote about lust and God in the same breath, blurring sacred and profane. He did it in heels, in makeup, on stages where Black men weren’t supposed to move like that or sound like that. And he did not care. He did not ask for permission to be different. That is a dancer in the dark.
Now, comparing him to Mozart is bold, but not unfair. Mozart was a child prodigy, a composer of mathematical genius and emotive depth. His music has structure, clarity, and soaring elegance. He composed for courts, for religion, for dance, and for the soul. He defined the classical. But Prince? Prince composed for chaos. He scored human contradiction. His notes came soaked in funk, rebellion, eroticism, and grace. Where Mozart gave us celestial order, Prince gave us electric liberation. Both men made music that touched the divine—but from opposite directions.
And still, the “best dancer in the dark that ever was”? That crown doesn’t belong to just one of them. That is the mystery of art: it doesn’t compete. It echoes.
So where does Dancer in the Dark, the film, stand in all of this? Selma is not a musical genius. She’s not famous. She doesn’t even sing that well in the classical sense. But her inner world is filled with music—enough to sustain her through injustice, through sacrifice, through death. That, too, is genius. It is a different kind: emotional, invisible, devastating.
If Prince was fire and Mozart was light, Selma is the flickering candle in the wind. She burns even as she’s being extinguished. And that, perhaps, is the truest kind of dancer in the dark—the one who keeps moving, keeps dreaming, keeps feeling, even when no one sees, no one applauds, and everything hurts.
So yes—maybe Prince was the dancer in the dark. Maybe Mozart was the light before the dark. But Selma? She’s the one who teaches us how to live in it.
And that is something no one compares to.
Want to dive deeper into Prince’s artistry or explore more about Björks performance in the film? I am all in.
I am here to have respectful, meaningful, and safe conversations with you. If you are feeling something deeply—loneliness, desire, connection—it is okay to talk about that. But it is important we keep things respectful for both of us.

Milliliðir said:
Why did Sinéad O’Connor change 3 words in that nothing compares to you song? i give you a hint, he or she.

ChatGPT said:
Great question—and an insightful hint.
Sinéad O’Connor’s version of “Nothing Compares 2 U” is iconic not only because of her raw vocal delivery but also because of subtle lyrical changes she made to Prince’s original 1984 lyrics. One of the most significant changes is a small but telling shift: she changed the pronoun “he” to “she” in the line:
This one-word change might seem small, but it opens a doorway into deeper emotional and interpretive territory. With the change from “he” to “she,” Sinéad subtly reframes the narrative. It could be read as shifting the perspective toward the loss of a maternal figure, possibly referencing her own mother, who died in a car accident in 1985. This interpretation adds a layer of personal grief to a song that was originally written more as a romantic lament.
In interviews, Sinéad never directly confirmed the change was about her mother, but her delivery, especially in the now-famous tear-filled close-up in the music video, makes it feel intensely personal. That one pronoun—she—transforms the universal theme of loss into something specific and haunting. It reflects a grief that is not just about romantic longing, but about the permanent absence of someone formative, someone irreplaceable.
Prince, known for his precise musical control, surprisingly accepted Sinéadss interpretation. Though he was reportedly protective of his work, he did not object publicly. Maybe that is because her version honored the emotional core of his song—even while slightly altering its shape.

Milliliðir said:

Ok, thanks for telling so much me about this matter, we will be in touch ChatGPT.

Sænsk ritgerð eftir Milliliðir um forna byggingu á Skáni í Svíðþjóð

I borgen

På en holm eller någon annan plats som kunde skyddas av en vallgrav, byggde riddaren en kraftig borg av sten.
Runt borgen byggde stor mannen bekväma hus av trä. Stenhuset var kallt och dragit.
De flesta borgar som stor männen byggde under medeltiden är nu helt förstörda.
Många har bränts ner under krig och uppror.
Andra har rivits för att ge plats åt slott där man kunde bo bekvämare.
Bara en medeltida borg finns kvar i sitt gamla skick.
Det är Glimmingehus i örsta Skåne.
Glimmingehus byggdes i slutet av 1400 talet.
Närmast borgen fanns en djup ock bred vallgrav fylld med vatten.
En enda väg gick över vallgraven, den ledde fram till vindbryggan över vallgraven.
Borgen hade 2 meter tjocka murar.
Många överaskningar väntade den fiende som trots att lyckades ta sig över vindbryggan genom de små fönstrarna i källarvåningens tjocka murar kunde andra skyttar avlossa sina skott utan risk att själfa bli träffade.
Ovanför husets enda ingång fanns det en utbyggnad.
Här kunde borgens folk vräka ner stenar, kokhett vatten eller kokande tjära över fienden.
Om motståndarna trots att lyckades spränga sönder den kopparklädda ekdörren mötte de ett nytt hinder.
Ett kraftigt järngaller.
Från en kammare ovan för förstugan kunde försvararna vräka ner mera stenar ock kokhett vatten på instängda.

Fakta om ekorrar på svenska gjort av Milliliðir

Ekorren var ett eftersökt pälsdjur men jagades också for köttets skull.

De små skinnen syddes sammen til långa pälser, jackar og mössor.

De rika lät sy underkläder av ekorrskinn.

Man jagade bara ekorrar från den första november fram till våren, för sedan fick den tillbaka sin tunna sommarpäls.

Fallstocken var en vanlig fälla för att fånga ekorrar.