Kvasir was the Norse god whose blood became the first mead, a drink that made a poet out of those who imbibed it. This drink, blood fermented with honey, was the motive for several murders, and wound up in the hands of the god of poets and inspired ecstasy, Odin.
The story of Kvasir is one level another John Barleycorn story – he dies to make mead, just as Barleycorn did to make beer – we know that Kvasir was supposed to be the wisest of the gods, and that mead was supposed to bestow poetic inspiration. The sharing of wisdom is another concern in this story, since Kvasir shared freely with all he met, and died for it.
Two Norse deities can be connected to the álfar, or elves, of Norse myth. One is Freyr, who had Alfheim as a tooth-gift, and was ruler of the álfar. The other is the sun-goddess, whose connection with the álfar runs much deeper than her by-name Álfroðull, or Elfin Beam.
Celebrity feuds are the meat and drink of modern gossip columns. But what do you do when it’s two gods duking it out? The Greeks had plenty of god feuds, as you might expect, including Poseidon vs. Zeus, and Hera vs. Hercules. And the Norse had a god feud of their own, involving their two most important gods: Odin and Thor.
We’re always taught that Odin was head of the Norse gods, and father of most of them. But when the Christians in Scandinavia began to press the pagans to give up their religion, the sign of resistance was Thor’s hammer, not Odin’s spear or valknut.
This may come as a surprise to us, who mostly think of Thor as big and strong and a bit dim, out of his depth when it comes to anything more complicated than smashing giants. But Thor was a very popular deity in the Viking Age, as place-names and personal names show, perhaps because of his closeness to the humans he defended.
My last post looked at the Norse goddess of death, Hel, who shared her name with her abode, the home of the dead. Norse poetry from the Viking and high medieval eras frequently describes death as “going to Hel”.
But many of the dead weren’t about to go anywhere. In Norse myths and sagas, anyone who wished to communicate with the dead went out and sat on their barrow, or in some cases actually entered it. Clearly, people thought the dead were still powerful in the world, just waiting in their graves to help their families or those who left offerings.
Norse Mythology, by Neil Gaiman, W.W. Norton, 2017.
Earlier this year I reviewed Carolyne Larrington’s The Norse Myths, a lavishly illustrated introduction to the Norse myths for a popular audience. While Larrington’s book is more scholarly and objective, Gaiman’s book is laid out as a series of stories; retellings rather than analysis.
Heimdall is the guardian of the gods, and of their home, Asgard. Why is it then, that the Eddic poem Rígsþula describes him wandering the earth and interacting with humans as if he had nothing else to concern him?
The Norse gods have different ways of getting around: Odin and Heimdall have horses, Freyr has a boar, and Thor has two goats to pull his wagon. Freyja’s choice was a little more unusual: she had two cats to pull her chariot.
Considering that she may have started a cosmic war, we know very little about the Norse goddess Gullveig. Her story comes from the Eddic poem Völuspá, which tells how the Aesir riddled her with spears and then burned her three times but couldn’t kill her.
Since the next event in the poem is the war between the Aesir and Vanir, the two groups of Norse deities, it’s always been assumed that somehow this attack on Gullveig started it.