Tag: norse mythology

  • Lugh: The Celtic Sun King with a Long Arm

    Lugh: The Celtic Sun King with a Long Arm

    Lugh is one of the most important and revered deities in Celtic mythology. His name translates to “the luminous” or “the brilliant,” and he is associated with the sun, light, fire, lightning, and magic. Lugh is the master of all arts and skills, possessing great power and wisdom. He is the god of war, sovereignty, travel, trade, currency, craftsmen, poets, musicians, physicians, and druids. Lugh is the protector of his people, the Tuatha Dé Danann, and the leader of the gods in the battle against the Fomorians, the monstrous enemies of the Celts.

    —> “Lugh” refers to a prominent figure in Celtic mythology, often associated with the epithet “Lugh Lamfada,” meaning Lugh of the Long Arm.

    Lugh is a pan-Celtic deity, present in all Celtic pantheons, from Ireland to Gaul, through Britain, Spain, and other regions. His worship spread across Europe and merged with that of other deities, such as Roman Mercury, Norse Balder, or Gallic Lugus. His presence can be traced in numerous place names, like Lugdunum (Lyon), Londinium (London), Lugo, Lugones, Llugás, or Ligüerre. His festival, Lughnasadh (Lughnasa or Lúnasa), is celebrated on August 1st, marking the beginning of the harvest and the end of summer.

    A druid foretold that Lugh would be born to Cian, a Tuatha Dé Danann prince, and Ethniu, Balor’s daughter and the king of the Fomorians. The prophecy foretold that Cian and Ethniu’s son would kill Balor and free the Tuatha Dé Danann from the Fomorians. Balor imprisoned his daughter in a crystal tower, with twelve maidens on duty to prevent this. However, Cian managed to bypass the vigilance and impregnate Ethniu with Lugh. Learning of this, Balor ordered the child to be cast into the sea, but the baby was rescued by his maternal grandfather, the sea god Manannán mac Lir, who raised and instructed him in the secrets of magic.

    Lugh grew into a handsome, intelligent, and brave young man, gifted in all talents. Proficient in weapons, musical instruments, poems, healing, craftsmanship, negotiation, and rituals, his favorite weapon was a magical spear that never missed its target and returned to his hand after being thrown. His symbol was a crow, accompanying him on all his adventures, while his sacred animal was the dog, representing fidelity and courage.

    —> The Spear of Lugh is a legendary weapon associated with Lugh. It is said to have magical properties and is sometimes considered one of the treasures of the Tuatha Dé Danann.

    When Lugh arrived at the Tuatha Dé Danann court, where King Nuada presided over the people after losing an arm in a conflict with the Fomorians and having the tyrant Bres, a mix of both races, take his place, Lugh offered to serve Nuada. Demonstrating proficiency in any occupation or art, Lugh became Nuada’s advisor, earning the title of Samildanach (equally skilled in all the arts), skilled in multiple arts. Lugh organized the resistance against the Fomorians, rallying heroes and gods, including Cú Chulainn, the great warrior and Lugh’s son known for his combat prowess and fury.

    Lugh encountered his grandfather on the battlefield while leading the Tuatha Dé Danann in the Battle of Mag Tuired against the Balor-led Fomorians. He hurled his magical spear, piercing Balor’s eye and killing him. With Balor’s death, the Fomorians were demoralized and fled, pursued, and annihilated by the Tuatha Dé Danann. Lugh became the hero and savior of his people and he was proclaimed the king of the gods. Under his reign, the Tuatha Dé Danann experienced an era of peace, prosperity, and happiness.

    Representation and Symbolism of Lugh

    The Irish deity Lugh possesses or utilizes several magical objects:

    • The yew wood spear called Gae Assail (Spear of Assal), or Ar-éadbair (Areadbhair).
    • The sling-shot called cloich tabaill, or lía tailm, or Tathlum.
    • The hound Failinis.
    • The sword Freagarthach or Fragaragh, lent by Manannan Mac Lir.
    • The horse Aenbharr (Enbarr), also lent by Manannan Mac Lir.
    • The boat Scuabtuinne or Sguaba Tuinne, also lent by Manannan Mac Lir.

    He is also symbolized with a harp (as he is a harpist at the banquet at Tara), a boar, a hand, or an oversized arm—depicted on coins—due to being called lamfada “with the long arm” or Llaw Gyffes “with the skillful hand.”

    Lugh is likely the deity associated by the ancient Celts in their iconography with a tree of life guarded by two dragons, a warrior emblem that spread throughout Celtic Europe in the 4th and 3rd centuries.

    —> In Welsh Celtic mythology, Lugh is referred to as Lleu Llaw Gyffes, translating to “the fair-haired one with the skillful hand.” He is featured in the Mabinogion tales. Llefelys (Llevelys), also known as “Lugus with honeyed words,” plays the role of advising and assisting his brother Lludd Llaw Eraint in restoring order to his threatened kingdom.

    In the Culture

    Lug is one of the numerous gods mentioned in the Asterix comic book series. Lug served as inspiration for the legendary Pokémon Lugia. In the 2017 album “Evocation II: Pantheon” by the Swiss folk metal group Eluveitie, which invokes several Gaulish gods, Lug is featured in a dedicated track titled “Lugus.”

    In the second season of the TV series “American Gods,” it is revealed that the leprechaun Mad Sweeney was formerly King Lúg, a deity associated with the sun. Pablo Schreiber portrays Mad Sweeney.

  • Veðrfölnir: The Wise Hawk of Norse Mythology

    Veðrfölnir: The Wise Hawk of Norse Mythology

    Veðrfölnir, also known as Vedrfolnir, is a hawk that resides at the top of the world tree Yggdrasil in Norse mythology. He perches between the eyes of a giant eagle and observes everything in the world with his sharp gaze. Yggdrasil represents the old Norse cosmic perspective, which included all nine realms of life.

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    The heavenly and terrestrial realms, as well as the human and divine realms, are all included in this enormous ash tree, with Muspelheim, the home of cosmic flames, and Niflheim, the cold world of the dead, at either end.

    FactDescription
    Other NamesVedrfolnir, Vedurfolnir, or Vetrfolnir
    OriginNorse mythology
    Meaning of Name“Storm pale,” “wind bleached”, or “wind-witherer
    RoleA hawk sitting between the eyes of an eagle that is perched on top of the world tree Yggdrasil.
    Associated CharactersThe unnamed eagle and the squirrel Ratatoskr.
    SignificanceThe hawk is associated with the wisdom of the eagle. It is also theorized that it flies off, acquiring and bringing back knowledge.

    Veðrfölnir in Literature

    This hawk is only mentioned in Snorri Sturluson’s Old Norse textbook, “Prose Edda” (Younger Edda), among the Eddic literature from the 13th century. King Gylfi, calling himself Gangleri, inquires of the enthroned High about any further noteworthy details about Yggdrasil, and he answers:

    “There sits an eagle on the limbs of the ash, and he is very knowledgeable,
    and between his eyes sits a hawk named Veðrfölnir.
    A squirrel named Ratatoskr runs up and down the ash,
    carrying words of envy between the eagle and Níðhöggr,
    and four stags run across the limbs of the ash and bite the leaves.”

    Chapter 16 of Prose Edda, “Gylfaginning”, by Snorri Sturluson.

    In the poems, the hawk is represented by Veðrfölnir, who is a Norse mythological figure.

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    That is to say, this moniker may be used by poets to depict a hawk rather than Veðrfölnir itself. For instance, in the Nafnaþulur (a subsection of the Prose Edda), Vedrfölnir is a heiti (“term”) for a hawk.

    In Norse mythology, the description of this portion is quite obscure. Another tale has a rooster called Vidofnir taking the place of the holy hawk. Some people also think that Veðrfölnir is the same as Hraesvelgr, a northern eagle whose wings beat chilly winds. The story also says that this hunting hawk has “the wisdom to understand many things,” which makes it seem like Huginn and Muninn, the two ravens from whom Odin learned all there is to know about the universe.

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    Odin, who is believed to be Grimnir in the Poetic Edda poem Grímnismál, states a similar story:

    Ratatosk is the squirrel who there shall run
    On the ash-tree Yggdrasil;
    From above the words of the eagle he bears,
    And tells them to Nithhogg beneath.

    Henry Adams Bellows translation

    The Meaning of the Veðrfölnir

    A hawk, Veðrfölnir, perched on an eagle atop a tree, Yggdrasil, is shown in a picture from an Icelandic manuscript dating back to the 17th century.
    A hawk, Veðrfölnir, perched on an eagle atop a tree, Yggdrasil, is shown in a picture from an Icelandic manuscript dating back to the 17th century.

    The two parts that make up the Old Norse term Veðrfölnir are veðr, which means “wind,” “fierce wind,” or “weather,” and fölr, meaning “pale,” “white,” or “lacking color,” or fölna, meaning “to wither,” “to become white,” or “to lose color.” Thus, Veðrfölnir might equally mean “wind pale,” “weather pale,” or “become white from wind and weather.

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    Other potential explanations of this name are “Weather Maker” or the one “tousled in or by the storm,” but they are linguistically less evident.

    Why the Hawk?

    There is a unique relationship between Norse aristocrats and hawks. For hawking, they would domesticate hawks. The hawk was raised in prestige because of the noble hunter’s emotional connection with the hunting bird. The Eddas make many references to this occurrence (Guðrúnarkviða in fyrsta 18; Guðrúnarkviða in önnur 40; Sigurðarkviða Fafnisbana önnur 31). The hawk’s esteem reached a point where it was venerated as a sign of regal might (Skáldskaparmál 62). It is not for nothing that he was associated with the father of the gods, Odin, in Norse mythology, as can be seen from the phrase “like the greedy hawks of Odin.” (Helgakviða Hjörvarðssonar 42).

    Veðrfölnir’s relation to the eagle is reminiscent of Víðópnir‘s (a rooster who sits atop the Mimameidr tree) relation to the cosmic eagle Hraesvelgr.

    The Hawk-Eagle Relationship

    The fact that Veðrfölnir is situated between the holy eagle’s eyes suggests a link between its whereabouts and the eagle’s wisdom. Some think that Veðrfölnir travels into the world to return information to Odin, similar to Odin’s ravens. Hawk’s intellect, on the other hand, may be different from or even greater than that of the holy eagle.

    According to the German linguist Jacob Grimm, the term “haukr í horni”—meaning “the hawk in the corner”—is used in Old Norse to describe a secret adviser. He concludes that Veðrfölnir is more than simply the divine eagle’s companion since, after all, the eagle knows a lot more than its counselor.

  • Víðópnir (Vidofnir): The Bird at the Top of Yggdrasil

    Víðópnir (Vidofnir): The Bird at the Top of Yggdrasil

    Víðópnir (or Vidofnir) is the rooster or falcon from Norse mythology who sits atop the Mimameidr tree, an analog to the world tree Yggdrasil. The bird gleams like a thunderstorm and has a brilliant hue. The stability of this planet tree is under its watchful eye as a virtually eternal protector. Hence, the gigantic Surtr of the Fire World Muspelheim and the giantess Sinmara of the Ice World Niflheim view Víðópnir with dread (Fjölsvinnsmál 24).

    — Did you know?
    The rooster as a mythological figure may not be popular in our modern understanding of Nordic mythology, but this might have been different back in the day. For instance, Jacob Grimm compared the roosters on Maypoles, the weathervanes on crosstrees, and the weathervanes on church towers and considered it possible that Christian missionaries reinterpreted this pagan symbol and placed it on their church spires.

    Víðópnir’s Story

    Menglöð, the lady guarded by the dogs Geri “Greedy” and Gifr “Violent” in the Víðópnir story, can be identified with Freya, the goddess of thunder and lightning. Distracting the dogs is the only way for humans to get to her. One way to accomplish this is to give them some food—specifically the two roasted wings of Víðópnir.

    Nevertheless, the only weapon capable of killing Víðópnir is Lopt’s (Loki, “the Airy”) branch, Laevateinn, (meaning “Damage Twig”). Sinmara watches after this weapon underneath the gates of Hel. According to Fjölsvinnsmál (13–18, 23–30), she will only let someone use Laevateinn in combat if they bring her a tail feather that was formerly on Víðópnir.

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    Freyr's flaming sword Laevateinn.
    Freyr’s flaming sword Laevateinn.

    This task is practically impossible. If one can subdue a bird to the point that it drops a tail feather, they probably have what it takes to make it harmless as well. In order to capture the heart of the heroine, Menglöð, the hero must endure a number of difficult challenges, much as in traditional fairy tales and ancient hero sagas.

    Appearance

    On rare occasions, Víðópnir may be seen perched on the head of a different celestial bird. In these depictions, it occupies the space between the cosmic eagle Hraesvelgr‘s eyes, and it is depicted like a falcon rather than a rooster. Hraesvelgr is an eagle-shaped jötunn in Norse mythology, the originator of the winds.

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    Víðópnir’s literal meaning of “Weaver of Winds” suits this depiction.
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    This is reminiscent of a similar hawk-eagle depiction popularly known as “Veðrfölnir and eagle.”

    Víðópnir in Nordic Literature

    A manuscript from the pagan late era of Iceland contains a song named Fjölsvinnsmál and this song features Víðópnir, which is also a component of the Old Norse poem Svipdagsmál (“The Lay of Svipdagr”). It is believed to be pure poetry (irreducibly poetic)—in the manner of the Eddic poems—which is believed to be from the 13th century.

    Fjölsvinnsmál

    The stanzas of Fjölsvinnsmál is describing the expansive Mímameidr tree covering all known land. When Svipdagr queries the watchman Fjölsviðr about the name of the shiny, golden rooster on “the highest branch,” Fjölsviðr confirms it is called Víðópnir:

    “Vithofnir his name, and now he shines
    Like lightning on Mimameith’s limbs;
    And great is the trouble with which he grieves
    Both Surt and Sinmora.”

    Henry Adams Bellows translation.

    Aside from the Fjölsvinnsmál, Viðópnir is also mentioned in Icelandic historian Snorri Sturluson’s Eddu-brot, guarding the gate to the realm of Hél, near the 20-foot-high Icelandic waterfalls of Gjallandi, meaning “the yelling.”

    The Meaning of the Old Norse Name

    When the Old Norse name Viðópnir or Vidofnir was translated by certain scholars, they explained it to mean “Weaver of Winds.” According to the poem Alvíssmál 12, the Norse fertility deities known as Vanir reside in heaven called Viðópnir or Vidofnir.

    The rooster is often associated with the elements of fire and sunshine. When it crows at dawn, it represents watchfulness and the triumph of light over darkness. For the Germanic people, it became a sign of rebirth and a wayfinding object for the afterlife. Because of its aggressive character, it also stands for bravery and war. It is also linked to fertility.

  • Ginnungagap: The Primordial Void in Norse Mythology

    Ginnungagap: The Primordial Void in Norse Mythology

    Have you ever wondered how the world came to be, according to ancient Norse beliefs? What was there before the earth, the sky, the sea, and the gods? The answer is Ginnungagap, the vast and empty abyss that existed between the realms of fire and ice.

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    —> Details about Ginnungagap is found in both the Prose Edda and the Poetic Edda, two primary sources of Norse mythology. These texts, attributed to the Icelandic scholar Snorri Sturluson, contain detailed accounts of the Norse cosmogony.

    Ginnungagap, which means “the gaping gap” or “the yawning void”, is the name given to the primordial space in Norse creation myth. It is described as a dark and silent place where nothing existed except the potential for life.

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    In Norse cosmology, there were nine worlds, each with its own inhabitants and characteristics. But before these worlds were formed, there were only two extreme realms: Niflheim, the land of mist and cold, and Muspelheim, the land of fire and heat. Ginnungagap, which extended from north to south, was the barrier separating these two realms.

    The first sparks of creation happened when the cold winds from Niflheim met the hot sparks from Muspelheim in Ginnungagap. The clash of these opposite forces produced drops of melted ice, which formed the first living being: Ymir, the giant. Ymir was the ancestor of all the giants, who were the enemies of the gods. Ymir was also nourished by the milk of Auðumbla (Audhumla), the primeval cow, who licked the salty ice and revealed the first god: Buri, the father of Bor, who was the father of Odin, Vili, and Ve.

    —> Ginnungagap is the cosmic void from which Yggdrasil, the world tree, emerges. Yggdrasil’s roots extend into Ginnungagap, connecting different realms and serving as a central axis of the Norse cosmos.

    The three brothers, Odin, Vili, and Ve, decided to kill Ymir and use his body to create the world. They threw his flesh into Ginnungagap and made the earth; his blood became the sea; his bones became the mountains; his teeth became the rocks; his hair became the trees; and his skull became the sky. They also took sparks from Muspelheim and placed them in the sky to make the sun, the moon, and the stars.

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    They then created the first humans, Ask and Embla, from two pieces of wood and gave them the world of Midgard to live in.

    Ginnungagap, therefore, was the origin of everything in Norse mythology. It was the source of life, but also of chaos and destruction. It was the place where the opposites met and created something new. It was also the place where the final battle, Ragnarök, would take place, when the giants and the gods would fight and destroy each other, and the world would end in fire and ice. But after Ragnarök, a new world would emerge from Ginnungagap, where the survivors would start a new cycle of life.

  • Muspelheim: Home of Surtr and the Cosmic Flames

    Muspelheim: Home of Surtr and the Cosmic Flames

    Muspelheim, also known as Muspell or Muspel, is a realm in Norse mythology associated with fire, heat, and the primordial forces of creation. It is one of the Nine Worlds and is often mentioned in the Prose Edda and Poetic Edda, two primary sources for Norse mythology.

    Muspelheim: Key Takeaways

    • Muspelheim is often described as a realm of intense heat and flames. It is ruled by the fire giant Surtr, a powerful being associated with destruction and chaos.
    • Muspelheim is considered one of the oldest realms in Norse cosmology. It is said to have originated at the same time as Niflheim, the icy realm, and the void known as Ginnungagap.
    • Surtr is a prominent figure in Muspelheim and is foretold to play a significant role in the events of Ragnarok, the end of the world in Norse mythology. It is said that Surtr will lead the forces of Muspelheim to battle against the gods.
    • According to some Norse myths, Muspelheim, along with Niflheim, played a role in the creation of the world. The meeting of fire and ice from Muspelheim and Niflheim respectively gave rise to the being Ymir and the creation of the cosmos.
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    • In addition to Surtr, Muspelheim is said to be inhabited by various fire giants, spirits, and supernatural beings associated with heat and flame.

    The Origin of Muspelheim

    According to the Prose Edda, written by the Icelandic scholar Snorri Sturluson in the 13th century, Muspelheim was one of the two primordial worlds that existed before the creation of the universe. The other world was Niflheim, the land of ice and darkness, located in the north. Between them was a vast emptiness called Ginnungagap, where nothing lived.

    In the beginning, sparks and flames from Muspelheim flew across Ginnungagap and melted the ice from Niflheim, creating water droplets. From these droplets emerged the first living being, the giant Ymir, and the cow Auðumbla (Audhumla), who nourished him with her milk. Auðumbla licked the ice and revealed another being, Búri, the ancestor of the gods. Búri had a son named Borr (Bor), who married Bestla, the daughter of a frost giant. They had three sons: Odin, Vili, and Ve, who became the first gods.

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    The gods killed Ymir and used his body to create the world. His flesh became the earth, his blood became the sea, his bones became the mountains, his teeth became the rocks, his hair became the plants, and his skull became the sky. The gods also used the sparks from Muspelheim to create the heavenly bodies, such as the sun, the moon, and the stars.

    The Inhabitants of Muspelheim

    Muspelheim is the domain of the fire giants, also known as the sons of Muspell. They are fierce and destructive beings who oppose the gods and the other races of the nine worlds. They are ruled by Surtr, the black one, who wields a sword that shines brighter than the sun.

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    Surtr is the oldest and most powerful of the fire giants, and he guards the border of Muspelheim against any intruders.

    Another notable inhabitant of Muspelheim is Logi (Hálogi), the personification of fire. He is the brother of Kári, the god of the wind, and Aegir, the god of the sea. He once competed with Loki, the trickster god, in a contest of eating. Logi devoured not only the meat but also the bones, the plates, and the table, proving his superiority over Loki.

    Muspelheim is primarily inhabited by the fire giants, and the most notable figure associated with this realm is Surt, a powerful and fire-wielding giant.

    The Role of Muspelheim in Ragnarok

    Muspelheim plays a crucial role in Ragnarok, the final battle between the gods and the giants, and the end of the world as we know it. According to the Poetic Edda, a collection of Old Norse poems from the 10th to 13th centuries, Muspelheim will be the source of the fire that will consume everything.

    Before Ragnarok, a series of disasters will occur, such as wars, famines, plagues, and natural calamities. The sun and the moon will be devoured by the wolves Sköll and Hati, and the stars will disappear from the sky. The earth will shake and the mountains will crumble, releasing the monsters that were imprisoned by the gods, such as the Midgard serpent (Jörmungandr), the Fenrir wolf, and the Hel goddess. The rainbow bridge, Bifrost, that connects Asgard, the home of the gods, and Midgard, the home of the humans, will break, and the forces of chaos will invade the world.

    Among them will be the army of the fire giants, led by Surtr. They will march across Bifrost and reach the plain of Vígríðr, where the final battle will take place. Surtr will confront Freyr, the god of fertility and prosperity, who will have given away his magical sword to his servant Skírnir. Freyr will fight valiantly, but he will be slain by Surtr. Surtr will then swing his sword and set the world on fire, burning everything to ashes.

    After the destruction, a new world will emerge from the ruins, and life will begin again. Some of the gods and the humans will survive the cataclysm, and they will live in harmony and peace. A new sun will rise, and a new generation of gods will rule. Muspelheim, along with the other eight worlds, will be reborn, and the cycle of creation and destruction will continue.

    Attestations

    Vǫluspá, the first poem of the Poetic Edda:

    O'er the sea from the north | there sails a ship
    With the people of Muspell, | at the helm stands Loki;
    After the wolf | do wild men follow,
    And with them the brother | of Byleist goes.
    Source: The Poetic Edda

    In the Gylfaginning, the first part of the Prose Edda by the Icelandic historian Snorri Sturluson, the following is repeatedly referenced:

    Yet first was the world in the southern region, which was named Múspell; it is light and hot; that region is glowing and burning, and impassable to such as are outlanders and have not their holdings there.

    Source: Gylfaginning

    Popular Culture

    In the video games God of War, players have the opportunity to explore the realm of Muspelheim. Within this realm, they can undertake various side missions, such as navigating through levels to reach the peak of the mountain and confronting one of the valkyries.

    In the animated series Primal, the leader of the Vikings is brought to Muspelheim in the presence of Surtr, who bestows demonic powers upon him for seeking vengeance against the protagonists Spear and Fang.

    In the Dawn of Ragnarök expansion for Ubisoft’s Assassin’s Creed Valhalla, Surtr and his massive oyster hordes from Muspelheim invade the dwarven realm of Svartalfheim, flooding much of the realm with magma pools and streams.

    Muspelheim is a fascinating and important part of Norse mythology, representing the primal force of fire and the inevitable fate of the world. It is the origin of life, the source of destruction, the enemy of the gods and the ally of the new order. It is a world of contrasts and extremes, of beauty and horror, of light and darkness.

  • Hermod: The Son of Odin and Brother of Baldr

    Hermod: The Son of Odin and Brother of Baldr

    • Hermod is depicted as the messenger of the gods in Norse mythology.
    • His name, Hermóðr, means “as courageous as an army” or “the one with the spirit of an army” in Old Norse.
    • Hermod embarks on a journey to Helheim to negotiate for Baldr’s return to Asgard.

    Hermod (Hermóðr, in Old Norse) is the son of Odin and the brother of Baldr in Norse mythology. He is depicted as the messenger of the gods and plays a role in the myth of Baldr’s death, where he embarks on a journey to Helheim to negotiate for Baldr’s return to Asgard. Whether Hermod is divine or heroic is up for debate. In Snorri Sturluson’s Prose Edda, a 13th-century work based on even earlier sources, Hermod is portrayed as a god and his role in this text is that of a messenger. In the myth, he appears after Baldr is killed and offers to go to Helheim, the realm of the dead, to plead for his brother’s freedom from the realm’s guardian, Hel.

    In the same way that Hermes is to Greek mythology and Mercury is to Roman mythology, Hermod is to Norse mythology.

    Hermod in History

    hermod
    Hermod. (The Heroes and Gods of the North, 1832.)

    Hermod is mentioned briefly in the Skaldic poem Hákonarmál and the Eddic poem Hyndluljóð, both written in the 10th and 11th centuries, but in these texts he is treated more like a legendary hero or king.

    King Heremod of Denmark is mentioned in the Anglo-Saxon epic poem Beowulf, written around 700–1000 AD in Old English. In the poem, Heremod defeats monsters and dragons, and this king may be the same person as Hermod.

    According to Snorri Sturluson, the god Hermod likely descended from a legendary hero like those mentioned in earlier sources. However, academics are still split on this issue.

    What Does “Hermod” Mean?

    The name Hermod is originally Hermóðr in Old Norse and Herimot in Old High German. Both of these are derived from the elements hari, meaning army, and mot, meaning spirit, courage, and soul. Thus, it means something like “as courageous as an army” or “the one with the spirit of an army.”

    Several Norman place names around Europe bear the name of this Norse god or the Norse king Heremod:

    1. For instance, Hermeville in the Seine-Maritime in France was known as Hermodi villa in the late 12th century, which means “countryside estate of Hermod.”
    2. Another French commune is called Hermanville, which was Hermodivilla before 1115.
    3. English place names like Harmondsworth (Hermodesworthe in the late 11th century, Middlesex) and Harmston (Hermodestuna in the late 11th century, Lincolnshire).

    The Story of Hermod

    In the Hákonarmál

    In the 10th century, the Skaldic poem Hákonarmál was written as a tribute to the late Christian king of Norway, Haakon the Good. It describes Haakon’s arrival in Valhalla, where the gods greet him with open arms. Odin, in stanza 14 of the poem, assigns Hermod and Bragi the task of greeting the king (Bragi, Hoder, Tyr, and Heimdall are described as Odin’s sons).

    There’s nothing in the poem to suggest the characters depicted here are anything more than heroic mortals. Later mythological texts give the god of poetry the name Bragi, who is almost certainly a deification of the celebrated skald Bragi Boddason from the 9th century. The Bragi in the poem is almost certainly the skald himself, and Hermod is almost certainly a legendary figure who died before his time.

    In the Hyndluljóð

    Hermod is mentioned briefly and only once in the Poetic Edda, in stanza 2 of the early 11th-century poem Hyndluljóð. Like the hero Sigmund in the Sigurðr cycle, Hermod is depicted in this poem as a figure from the Edda epic cycle.

    “Let us pray to Herjafödr,
    To keep in good spirits;
    He who bestows and gives
    Gold to warriors;
    He gave to Hermod
    Helmet and byrnie,
    And to Sigmund
    A sword as a gift.”

    Hermod and Sigmund are mentioned in the same breath in Beowulf.

    In the Prose Edda

    Thökk, nordic giantess
    Loki disguises himself as giantess Thökk to be the only person not to cry for Baldr’s release.

    Chapter 49 of Gylfaginning details the death of the god Baldr at the hands of Loki, the god of trickery. To achieve his goal, Loki disguises himself as a giantess called Thökk.

    In this story, Helheim, the realm of the dead, is guarded by the goddess Hel, and Baldr’s mother Frigg offers her favor to anyone who will ride there and negotiate with Hel to release Baldr’s freedom. In response, “Hermod the Bold, son of Odin” volunteers and is bestowed with Odin’s steed Sleipnir for the journey.

    Before reaching the golden bridge Gjallarbru, which spans the river Gjöll, Hermod rides through nine nights of pitch blackness. Modgud, the young girl who watches over the bridge, has seen that Hermod is not pale like the dead. He reveals that his mission in Helheim is to retrieve Baldr.

    Hermod and Sleipnir before Hel in Helheim.
    Hermod and Sleipnir before Hel in Helheim. H. A. Guerber, 1908.

    The female guardian says that Baldr has crossed the bridge, and she tells Hermod the way to Helheim. He rides up to the entrance to Helheim and urges his horse to make the jump. When he enters the hall, he sees his older brother Baldr and Hel atop her throne.

    After spending the night in the underworld, Hermod begs Hel, the goddess of death, to let Baldr go free. She agrees, but only on the condition that all creatures, living and dead, weep for him.

    Baldr gives Hermod the ring Draupnir, the same ring that Odin had previously placed on Baldr’s funeral pyre. Frigg receives a linen cloth and other gifts from Baldr’s wife, Nanna, and Fulla, Frigg’s maid, receives a golden ring.

    Hermod farewells to Baldr and his wife Nanna.
    Hermod farewells to Baldr and his wife Nanna. Pitt, Ruth J., 1892.

    After hearing Hermod’s account of his travels, the gods dispatched messengers worldwide to urge mourners to shed tears for Baldr. A giantess by the name of Thokk, however, refused to weep for Baldr; she was, in fact, the crafty god Loki. This meant that Baldr would spend eternity in the underworld.

    When the gods learned the damage Loki caused to Aesir by preventing Baldr from being released from Helheim, they harshly punished him, setting in motion the events that led to Ragnarök.

    Possible Origin of Hermod’s Myth

    Snorri’s Prose Edda’s remarkably detailed account of Hermod’s expedition to Helheim has led many to speculate that the author relied on a long-lost mythological song recounting the whole adventure, along with the story of Baldr’s death.

    The afterlife is frequently the destination of Norse mythological stories. Poems by Saxo Grammaticus and legendary sagas feature it frequently, and it can also be found in the Eddic poems Baldrs draumar and Helreið Brynhildar.

    But since Snorri attributes divine status to Hermod, he is probably based on a real-life heroic figure in Nordic or Germanic history. In addition, Hermod is not included in Snorri’s list of the Aesir gods known as the Nafnaþulur.

    References to Hermod Today

    • Hermod is a minor character in Norse mythology but he has been popularized through comic books.
    • “Hermod’s Ride to Hel” from the Swedish death metal band Amon Amarth’s 2006 album “With Oden on Our Side” is a melodic death metal retelling of the Hermod myth.
    • The Marvel Comics character Hermod (debuting in Thor #274 in 1978) was created in honor of this god. He is one of the young members of the Norse pantheon and he possesses the ability to move at hyperspeed.
    • Several video games feature Hermod. For example, the 2018 video game “God of War” makes frequent allusions to various mythological texts, including those that describe Hermod as the messenger of the gods.

    Hermod’s Forebears

    1. Ymir
      • Son of Ymir
      • Ymir’s Daughter
        • Bolthorn
          • Bestla
    2. Auðumbla
      • Buri
        • Borr
          • Odin (from Borr and Bestla)
            • Hermod (from Odin and Frigg)
    3. Fjörgynn
      • Frigg
  • Thökk: Nordic Giantess Whose Punishment Brought Ragnarök

    Thökk: Nordic Giantess Whose Punishment Brought Ragnarök

    Thökk, or Thokk (Þökk), as she is also called, was a giantess (gýgr) in Norse mythology. Her name means “thanksgiving”, “reward”, and “joy”. Thökk, who many believe to be Loki in disguise, is the only figure who shows no emotion during Baldur’s funeral. Baldur is stuck in Hel’s Realm of the Dead, Helheim, because of this rejection by the giantess. Chapter 49 of Snorri’s Gylfaginning (a part of the Prose Edda, which was written in the early 13th century) explains this story in detail.

    The Story of Thökk (Þökk)

    Thökk prevents the return of the god Baldur from the realm of the dead of Hel.

    In this story, Loki is responsible for the death of the deity Baldur. Baldur now lives in the underworld of Hel, much to the chagrin of his fellow Aesir deities. Hermod is selected to ride to the land of the dead (sometimes called Hel) and plead with the goddess protecting the afterlife to let Baldur’s spirit go free.

    Hel agrees, but only if everyone in the universe mourns Baldur’s loss. Since Baldur is a cherished deity, the gods sent messengers all around the globe to encourage all things to cry for him in order to release him from the underworld.

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    Thökk, a cave-dwelling giantess, refuses to cry.
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    All the couriers beg her to cry, but she still refuses because she has no use from Baldur, either alive or dead.
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    Her Punishment Led to Ragnarök

    After concluding that the giantess was indeed Loki in disguise, the gods resolve to harshly punish him, setting in motion the events that lead to Ragnarök. According to Rudolf Simek, the giantess gave herself the name “joy” or “happy” since she didn’t have anything to be sad about in life, including Baldur.

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    References to Thökk

    Thökk (Thokk or Þökk) in the AM 738 4to, Icelandic manuscript from the late 17th century.
    Thökk (Thokk or Þökk) in the AM 738 4to, an Icelandic manuscript from the late 17th century.

    Chapter 49 of Gylfaginning from the 13th century ends with the following text:

    Returning, the messengers found in a cave a giantess who said her name was Thokk. They begged her to weep for Baldur to secure his release from Hel, Thokk she declared:

    Thokk will shed
    Dry tears
    On the funeral of Baldr
    Neither alive nor dead, the old man’s son
    I had no cause to rejoice.
    May Hel keep what she has!

    It is inferred that it was Loki, Laufey’s son, who caused the most harm to the Aesir.

    —Gylfaginning, Chapter 49, Prose Edda.
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    The authorship of this poetry actually remains mysterious. Like most of the lyrical portions in the Prose Edda, it was likely written by Snorri Sturluson himself while he was working on this Old Norse textbook, or else it was stolen by him from an earlier poem that has since been lost.

    Chapter 50 follows with Gylfi (Gangleri) saying, “Loki did something very grave when he ensured, first that Baldur was killed, and then that he was not redeemed from Hel. Was there any kind of consequence for his actions?”

    Loki’s arrest and torture are detailed in the following paragraphs and the crime Thokk committed became synonymous with hatred and selfishness.

    Thökk Is Rarely Mentioned in Nordic Mythology

    Only in the AM 738 4to, an Icelandic manuscript from the late 17th century, is the name “Thökk” accompanied by an illustration. In this illustration, Thokk looks exactly like Loki. However, her name does not appear anywhere else in the surviving mythical narratives about Nordic mythology.

  • Garmr in Norse Mythology: A Dog That Guards the Portal to Hel

    Garmr in Norse Mythology: A Dog That Guards the Portal to Hel

    • Guardian of Hel: Garmr, in Norse myth, guards the underworld’s entrance.
    • Mythical Dogs: Various mythologies feature dogs guarding afterlife realms.
    • Modern Depictions: Garmr appears in literature, music, and video games today.

    Garmr (from Old Norse) is the dog that stands watch over the portal to Hel, the Nordic underworld, in Norse mythology. In Norse mythology, Garmr represents a vision of the Last Days.

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    Cerberus, the ancient Greek mythological dog associated with Hel, might have had a part in the origin of Garmr. Guarding the entrance to the underworld at the river Gjöll is Garmr, the dog of the death goddess Hel, who resides in the cave Gnipahellir (literally “overhanging cave”).

    Origin of the Garmr Myth

    Garmr in Norse Mythology

    If you try to get close to the underworld, he will attack you. On the way to Niflheim, Odin runs into him. On the day of the end of the world (Ragnarok), Garmr will let out a terrible howl and join the giants in their battle against the Aesir. Both Garmr and Tyr are going to die in that battle. Garmr is a name that some writers have used interchangeably with Fenrir, the great wolf of Norse mythology.

    However, the ancient Icelandic poets rarely used the character Garmr, due to the abundance of mythical animal figures.

    The island Lyngvi, where Loki and Fenrir are bound in the cave Gnipahellir, is guarded by Garmr, a large dog that cries loudly when the shackles of Loki and Fenrir threaten to burst before the approaching apocalypse, according to the Völuspá, the first poem of the Codex Regius, written about 1000 AD:

    Now Garmr howls terribly,
    in front of the Gnipahellir,
    the fetters will break,
    and the wolf will run.

    Poems from the Icelandic Poetic Edda, which were originally passed down orally, were written down in the 13th century. In verse 44 of the Grímnismál (also known as Grimnir’s Song), Garmr is called the “Best of hounds.”

    In this verse, Odin describes the greatest of the legendary world, beginning with the tree Yggdrasil and continuing through the Aesir, the horse Sleipnir, and ending with the dog Garmr. In Baldrs Draumar, another section of the Poetic Edda, Odin is followed by a blood-spattered hound that barks loudly the whole way to Niflheim, the underworld.

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    However, this dog remains unidentified and its relationship to Garmr is unproven.

    Story of Garmr in Norse Mythology

    Hel is the ruler of Hell, and his dog Garmr on her side, 1889.
    Hel is the ruler of Hell, and his dog Garmr on her side, 1889.

    In the Gylfaginning, the heart of Snorri Sturluson’s Prose Edda, the author dubs Garmr “the greatest monster” and provides a detailed account of the apocalyptic battle of Garmr and Tyr in front of the cave Gnipahellir, where both Garmr and Tyr ultimately perish. The presence of the chains suggests a connection to Fenrir.

    In the Gylfaginning, Garmr is mentioned once more, this time as the wolf Managarmr (Moon-Hound) or Hati Hródvitnisson, the destroyer of the moon, who feasts on the flesh of the dead and, during the apocalypse (Ragnarok), stains the seat of the gods with blood as he and his brother Skoll eat the sun and moon.

    The destructive character of Garmr is described in further detail by other kennings, such as “Garmr of the wood,” which represents fire, in certain Old Norse poetry.

    Dogs, also called Garmr, protect the lovely castle Menglod in the 13th-century poetry Fjölsvinnsmál. According to some poetry, the only way to please Garmr is with bread that has been given to a beggar.

    Ragnarok. Garmr on the left attacks Tyr. 1905 illustration by W. G. Collingwood.
    Ragnarok. Garmr on the left attacks Tyr. 1905 illustration by W. G. Collingwood.

    Dogs Similar to Garmr in Other Mythologies

    Cerberus vs. Garmr

    Numerous mythologies include dogs as guardians of Hades or the afterlife. There are canine or canine-like animals with names in Greek mythology. Cerberus, a two- or multi-headed dog with a dragon or snake tail, is the counterpart of the Norse Garmr, guarding the entrance to Hades and ensuring that the souls of the dead can never depart.

    In Greenlandic Mythology

    After an unsuccessful seal hunt, the Greenlandic Inuit shaman (Angakkuq) goes to the ocean floor to beg Sedna, the sea goddess, to let the seals go free. However, to reach her, one must go through the afterlife, across an abyss guarded by a great dog, and over yet another abyss on a bridge as thin as a knife.

    In Slavic Folklore

    The goddesses of the morning light, known as Zorya, appear in Slavic mythology. The gate to the sun’s daily voyage across the sky is opened by the morning dawn (Zorya Utrennyaya) and closed by the evening dawn (Zorya Vechernyaya) upon the sun’s return.

    Another Zorya, this one signifying midnight, was added to the mythology in subsequent retellings. The three sisters are responsible for keeping an enslaved dog from the constellation Ursa Minor from escaping, should the planet be destroyed.

    An Updated Look at Garmr

    • Farmer Giles’ dog Garmr appears in J.R.R. Tolkien’s “Farmer Giles of Ham.
    • The human-eating, Christian-blood-craving Garmr is the subject of the song “Helvetes Hunden Garmr” by the Norwegian folk-metal band Trollfest.
    • Garmr is a companion animal of Eir, a ranger who plays a significant part in the player’s adventure as a member of Destiny’s Edge in the massively multiplayer online role-playing game Guild Wars 2.
    • Senua, the game’s protagonist, must work her way through a maze-like tunnel vault to reach the end of Hellblade: Senua’s Sacrifice. When she needs to flee into the darkness, she is constantly followed by a huge creature known only as Garmr. Garmr can’t get to her in the light, so that’s her only hope.
    • In addition to his appearance in God of War, Garmr plays a pivotal role in the events of God of War: Ragnarok.
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