She-Wolf: a Cultural History of Female Werewolves, ed. Hannah Priest. Manchester UP, 2015
The Wolf-Man, and other movies, told the story of a man who was cursed to transform into a wolf every full moon, but in modern times female werewolves have taken their place on stage, in everything from movies to books to role-playing games to songs by Shakira. She-Wolf, a one-stop shop for all things feminine and lycanthropic, covers all these and more.
This post had its genesis in a question on reddit/mythology, encouraging other redditors to share their favourite myths from their home countries. I’ve always loved the fact that Wolverine made my world, especially if you look at it from an airplane, where the scars left by the retreating glaciers at the end of the Ice Age do make you think of claw marks.
Tyr was supposed to be the bravest of the Norse gods, and the proof of this was he stuck his hand in the Fenris Wolf’s mouth. He lost the hand, meaning that he gave up his sword (and oath-taking) hand so the Aesir could bind the gigantic wolf. But what did he lose, and what did he gain?
This week’s post could easily have been called “fearsome deities“: Odin, whose name means “fury”, and the Morrigan, who steps out of the fairy realm to stir up war and slaughter. It’s not hard to see what they have in common.
The goddess Skadi has one main myth, but it is a well-developed story, spanning three generations, and involving the feud between the gods and giants. The actual story is scattered around through a variety of sources, but its outline is clear.
Only four Norse goddesses have homes of their own. Out of these, two are given to Frigg and Freyja, who are the preeminent goddesses of the pantheon and might be expected to own their own property. The other two are Saga and the giantess Skadi.
The latter is extremely interesting because we know that she inherited her home, Thrymheim, from her father, the giant Thiazi. What little we are told about the Aesir’s homes suggest that they created them from scratch – that Skadi inherits hers tells us that the giants are older beings than the gods. This is why the giants were often shown as knowing the history and layout of the cosmos so well that Odin would come and quiz them about it.
Apollo seems to have made a habit of swallowing up other gods. He took over (or was given, according to later mythology) the oracle of Delphi, which had belonged to his grandmother, Phoebe. He seems to have taken over the healing role of a very early Greek god, Paean, and also an Italian god named Soranus.
We don’t know a lot about Soranus, but he was worshipped at Mt. Soracte in Etruria, an area sacred to underworld gods like Dis Pater. Like most of the Italian gods, he had a partner, Feronia, whose sanctuary stood next to his. Although his cult may have involved the otherworld and the dead, his name is probably connected to that of the Etruscan god Suri, a god of purification and prophecy.
In his fickleness and imagination he even gave pleasure to Odin, who with his well-sipping and auto-asphyxiation knew too much ever to be otherwise amused …the reason why Odin had taken the great, foredoomed step of making Loki his blood brother – for the pleasure, pure and simple, of his company. (Chabon: 53)
Odin and Loki are blood-brothers, and we have to wonder what each saw in the other that led to such an unusual partnership. After all, the two are on entirely different trajectories. Odin is trying to get as far as he can from his giant ancestry, to the extent of murdering his own grandfather to make the world. Loki, on the other hand, is constantly pulled back and forth, but usually ending up with the gods, until he chooses the giants for good.
These Greek, Nordic and Celtic gods may not seem to have much in common at first glance, but they resemble each other in several ways, all of which illuminate aspects of their characters. All three are intellectual, associated with the arts, and have magical or oracular powers in addition to an unforgiving nature.