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Heimdall in the Edda Oblongata

Heimdall in the Edda Oblongata


Heimdallr

In Norse mythology, Heimdallr is a god who keeps watch for invaders and the onset of Ragnarök from his dwelling Himinbjörg, where the burning rainbow bridge Bifröst meets the sky. He is attested as possessing foreknowledge and keen senses, particularly eyesight and hearing. Heimdallr is also described as having gold teeth, and being called the "Shining God" and "Whitest skinned" of all the Gods.

Heimdallr possesses the resounding horn Gjallarhorn and the golden-maned horse Gulltoppr, along with a store of mead at his dwelling. He is the son of the Nine Mothers, and he is said to be the originator of social classes among humanity. Other notable stories include the recovery of Freyja's treasured possession Brísingamen while doing battle in the shape of a seal with Loki. The antagonistic relationship between Heimdallr and Loki is notable, as they are foretold to kill one another during the events of Ragnarök. Heimdallr is also known as Rig, Hallinskiði, Gullintanni, and Vindlér or Vindhlér.

Heimdallr is attested in the Poetic Edda, compiled in the 13th century from earlier traditional material in the Prose Edda and Heimskringla, both written in the 13th century in the poetry of skalds and on an Old Norse runic inscription found in England. Two lines of an otherwise lost poem about the god, Heimdalargaldr, survive. Due to the enigmatic nature of these attestations, scholars have produced various theories about the nature of the god, including his relation to sheep, borders, and waves.


Heimdall

Heimdall (pronounced “HAME-doll” Old Norse Heimdallr, whose meaning/etymology is unknown [1] ) is one of the Aesir gods and the ever-vigilant guardian of the gods’ stronghold, Asgard.

His dwelling is called Himinbjörg (“Sky Cliffs,” connoting a high place ideal for a fortress), which sits at the top of Bifrost, the rainbow bridge that leads to Asgard. He requires less sleep than a bird. His eyesight is so keen that he can see for hundreds of miles by day or by night, and his hearing is so acute that he can hear grass growing on the ground and wool growing on sheep. [2] Here he watches and listens, holding at the ready the horn Gjallarhorn (“Resounding Horn”), which he sounds when intruders are approaching.

During Ragnarok, the gods will know that their doom is at hand when they hear the dire call of Gjallarhorn signaling the imminent arrival of the giants, who will cross the rainbow bridge to storm Asgard and kill the gods. The disloyal Loki, the particular nemesis of the unwaveringly dutiful Heimdall, will be with them. Loki and Heimdall will slay each other as the world burns and sinks into the sea.

Taken together, certain verses in Old Norse poetry seem to indicate that Heimdall was once considered to be the father of mankind, and possibly to have established the hierarchical structure of Norse society as well. [3] [4]

Heimdall himself is, like so many of the Norse deities, a son of Odin. In a feat possible for gods but not for biological creatures, he was born from no less than nine mothers. [5] Some scholars have attempted to equate Heimdall’s nine mothers with the nine daughters of the sea giant Aegir, but this interpretation faces the difficulty of the names of Heimdall’s mothers not matching those of Aegir’s daughters. [6]

Apart from the above, the sources for our current understanding of Norse mythology offer only tantalizing scraps of information on this evidently once very important god. For example, Heimdall is often associated with the ram, but, despite a number of interesting yet ultimately entirely speculative interpretations from various scholars, the connection is unclear. [7] A notoriously enigmatic verse in one Old Norse poem states that Heimdall’s hljóð is hidden beneath the world tree Yggdrasil and is somehow associated with the eye that Odin sacrificed. The word hljóð has a wide variety of meanings, and could equally plausibly refer to Gjallarhorn, Heimdall’s hearing in an abstract sense, or his hearing represented in concrete form as an ear. [8] Did Heimdall sacrifice one of his ears for some great reward, much like Odin did with one of his eyes? We simply don’t know.

Looking for more great information on Norse mythology and religion? While this site provides the ultimate online introduction to the topic, my book The Viking Spirit provides the ultimate introduction to Norse mythology and religion period. I’ve also written a popular list of The 10 Best Norse Mythology Books, which you’ll probably find helpful in your pursuit.

[1] Turville-Petre, E.O.G. 1964. Myth and Religion of the North: The Religion of Ancient Scandinavia. p. 153.

[2] Snorri Sturluson. The Prose Edda. Gylfaginning 27.

[3] The Poetic Edda. Völuspá, stanza 1.

[4] The Poetic Edda. Rígsþula.

[5] The Poetic Edda. Völuspá in skamma.

[6] Simek, Rudolf. 1993. Dictionary of Northern Mythology. Translated by Angela Hall. p. 135-136.


Heimdall: History and Mythology of the Norse Guardian God

Source: HeimdallPower

Heimdall (or Heimdallr in Old Norse) is often portrayed as ever-keen guardian of Asgard, the stronghold of the Æsir tribe of Norse gods. Also referred to as the shining god (or the most effulgent among Norse deities), his attribute of keenness is rather unparalleled among the Æsir. This, in turn, fits into the mythical narrative of how Heimdall maintains his eternal vigilance over the entry to Asgard – where he steadfastly guards Bifrost, the burning ‘rainbow bridge’ that connects the realm of gods to Midgard (earthly domain), the realm of humans.

Depictions of Heimdall –

Source: YouTube

As already mentioned, the most ‘shining and whitest’ of Norse gods, Heimdall is often represented with his horn Gjallarhorn (‘Resounding Horn’), which is put to use when intruders approach the home of the Æsir tribe of gods and can be heard in all of the worlds. As Poetic Edda, a compilation of poems dating from circa 1000 – 1300 AD, mentions –

Heimdallr is the name of one: he is called White God. He is great and holy nine maids, all sisters, bore him for a son. He is also called Hallinskídi [“Ram”] and Gullintanni [“Golden-teeth”] his teeth were of gold and his horse is called Gold-Top. He dwells in the place called Himinbjörg [“Heaven-fells”], hard by Bifröst: he is the warder of the gods, and sits there by heaven’s end to guard the bridge from the Hill-Giants [Jotun]. He needs less sleep than a bird he sees equally well night and day a hundred leagues from him, and hears how grass grows on the earth or wool on sheep, and everything that has a louder sound. He has that trumpet which is called Gjallar-Horn, and its blast is heard throughout all worlds. Heimdallr’s sword is called Head.

In essence, Heimdall is portrayed as drinking his fine mead, living in a dwelling called Himinbjörg (‘heaven castle’ or ‘sky cliff’), and keeping his vigilance over the passage to the stronghold of the gods. In some sources (like the Prose Edda book Gylfaginning), Heimdall also possesses Gulltoppr, a golden-maned horse of the gods.

Origins and History of Heimdall –

An engraving of the Gosforth Cross possibly showing Fenrir and Heimdall. Source: Wikimedia Commons

The historical origins and etymology of Heimdall are still mired in mystery, and the scope is made even vaguer with only a few surviving archaeological records of the god’s representation. One of these oft-discussed historical objects includes the Gosforth Cross, a 10th century Anglo-Saxon cross of Northrumbian origins that curiously exhibits both Christian and pagan Norse motifs. Pertaining to the latter, the cross does have a panel that probably depicts Heimdall holding a horn and a sword while standing defiantly before two open-mouthed beasts.

Talking of horns, Heimdall also bears the moniker of Hallinskídi or ‘Ram’ (as mentioned earlier), while his sword has often been likened to a ‘Head’, the offense-oriented part of the ram’s physiology – thereby creating a speculative association of the Norse guardian god with the animal. Another interesting hypothesis put forth by the late French comparative philologist Georges Dumézil pertains to how Heimdall was possibly ‘made’ to fit into the narrative of a ‘framing deity’ – an entity (found in literary works) that helps in defining the pantheon and cosmos of the mythology. This conjecture alludes to the rather abstruse lineage of Heimdall as a deity, which does suggest the possibility of the character being an origin point in itself as opposed to having set origins in the narrative.

To that end, one of the plausible theories refers to how Heimdallr was considered in ancient Nordic circles to be the father of humankind, as mentioned in the Old Norse poem Völuspá. Other scholars have hypothesized that Heimdall, in his wandering Rígr persona, was historically perceived by the Norse tribes as being responsible for creating the hierarchy and classes among men (like the Indian Brahma) – like thrall (serf), karl (free peasant), and jarl (noble), as referred to in the poem Rígsþula. Now, in terms of literary history, we should understand that the Norse gods and legends probably have one of the vaguest of origins, with their primary lore borrowed from a patchwork of oral traditions and local tales that were conceived in both pre-Christian ancient Germania and early medieval Scandinavia.

Lineage and Myths of Heimdall –

“Rig in Great-grandfather’s Cottage” (1908) by W. G. Collingwood. Source: Wikimedia Commons

In the Norse myths, Heimdall is said to be the son of ‘collectively’ nine maiden sisters known as the Nine Undines, or the Nine Waves, while his father is often mentioned as being Odin himself, the leader of the Æsir. Now according to few scholars, these nine maidens possibly represent the nine powerful yet capricious daughters of Aegir, the Norse sea god. As an article from Mythology.net describes –

The nine sisters were known to be both beautiful and terrible. Their names represent the various powers of the ocean. The two oldest sisters are twins, Duva, the Hidden One, and Kolga, the Cold One. The next sister is Blodughadda, the red haired and bloodthirsty sister. Her name represents red sea foam. Next comes Bara, which means foam fleck, signifying the moment that a wave hits the shore. Bylgja meaning billow, or breaker, is next, followed by Hrǫnn, or welling wave, and her twin Hefring, rising wave. Finally are Unn, frothing wave, and the youngest Himinglava, transparent wave.

The father of Heimdall is Odin, chief of the Aesir tribe. Legend has it, that the love between the nine maiden sisters was like no other. Their alliance was resolute. Therefore, when one of them chose to lay with Odin, against the wishes of their father Aegir (the god of the sea), the other eight sisters stood by her to cover up her defiance.

In the poem Heimdalargaldr, Heimdall himself says that he was born of nine sisters: – “Offspring of nine mothers am I, of nine sisters am I the son”. However, other researchers disagree with the notion that Heimdall’s mothers were the daughters of Aegir, given the lack of literary evidence found in the ancient and medieval sources. But one thing most academics concur is the mythical role of Heimdall in the impending Ragnarök – where he will valiantly make his stand on the field of Vígríðr and sound the dire call of Gjallarhorn to signal the arrival of the giants and monsters. And in the consequent confrontations, Loki and Heimdall are foretold to slay one another.

Another myth related to Heimdall pertains to the aforementioned Rígr persona, who is presented as a wise and powerful wanderer entity in the poem Rígsþula. This wanderer, being Heimdall in guise, spends time with couples, gives them advice, and makes the wives pregnant to deliver his future scions. One of these scions, in turn, grows up as a notable warrior and takes up the mantle of Rígr, thereby continuing the tradition of knowledge endowment to the succeeding generations of humans.

Attributes –

Source: Pagan Beanstalk

Keenness was seen as an integral aspect of Heimdall, so much so that the myths make it clear how the Norse god had the ability to see for hundreds of miles through night and day, and this was complemented by his hearing prowess that could detect grass growing on the ground and wool growing on sheep. Pertaining to the latter attribute, one particular Old Norse poem mentions that Heimdall’s hljóð is buried underneath the Yggdrasil, the mighty tree at the center of the cosmos. As Norse-Mythology.org states –

A notoriously enigmatic verse in one Old Norse poem states that Heimdall’s hljóð is hidden beneath the world tree Yggdrasil and is somehow associated with the eye that Odin sacrificed. The word hljóð has a wide variety of meanings, and could equally plausibly refer to Gjallarhorn, Heimdall’s hearing in an abstract sense, or his hearing represented in concrete form as an ear. Did Heimdall sacrifice one of his ears for some great reward, much like Odin did with one of his eyes? We simply don’t know.

Beyond his superlative aptitude for seeing and hearing, Heimdall, befitting his status as a guardian of Asgard, also had the power of foreknowledge. In a sense, the guardian god looked out for invaders not only on the physical plane but also on the plane of time, thereby alluding to his accepted fate during the rigors of Ragnarök.


Heimdall: The Watcher Of The Norse Deities Of The Aesir

The watcher of the Norse deities of the Aesir tribe was Heimdall. Heimdall was known as a god of keen eyesight and hearing who was prepared to sound the Gjallarhorn at the beginning of Ragnarök. There is only a little evidence that survived, and according to that, Heimdall appears to have been a guardian of the deities and a guardian of the passages to and from the Nine Worlds. For his supposed role in yielding wisdom and social order, he was also considered as a father and patron to human beings.

He had teeth of gold and was said to have had nine mothers, sea giants from among the jötnar. These multiple mothers were likely a reference to the Nine Worlds over which he kept watch. In any case, Heimdall appears to have been associated with the sea, gold, roosters, and rams.

The etymology of the name “Heimdall” was uncertain however, it seemed to be produced from a combination of words meaning “world,” “eminent,” and “radiant.” If the name is translated, it means “radiant world.” An additional potential translation of the name could be “the one who illuminates the world.”

There were many epithets attached to Heimdall’s name, such as Hallinskidi, meaning “the horned,” which is probably a reference to his connection with rams. He was also called Gullintanni, meaning “the one with the golden teeth” or simply “gold-toothed,” and Vindlér, meaning “the turner.” In one eventful story, he also took the name Ríg, or Rígr.

Associated with his status as a watchman, Heimdall owned the keenest senses of sight and hearing among all the gods. In the Gylfaginning, a book of the Prose Edda that was written by the thirteenth-century Icelandic scholar Snorri Sturluson, it was claimed that Heimdall required less sleep than a bird, could see in the night as though it were day and could spot a target from a hundred leagues away. In addition, his sense of hearing was said to be so sharp that he could hear the grass grow and wool sprout from sheep.

Heimdall owned a horn called the Gjallarhorn that he carried with him, meaning “shrieking horn” or “loudest horn.” The prophecies claimed that when Heimdall spied the events signaling the start of Ragnarök, he will blow the horn with a loud shriek so piercing it would be heard in all worlds, bringing the Norse gods together for the final battle.

The heavenly guard rode a golden-maned horse called Gulltoppr (suitably “the golden-maned”) and lived in a castle in the clouds recognized as Himinbjörg (“the castle of the heavens,” or “sky castle”). Himinbjörg stood at the Asgardian end of the Bifrost, the rainbow bridge that linked Asgard, the world of the gods, to Midgard, the world of humans.

Family of Heimdall

Heimdall was born as the son of nine maiden sisters recognized as the Nine Undines or the Nine Waves. This is possibly the reason he was born with so many gifts. The nine sisters were known to be both gorgeous and awful. Their names stood for the diverse powers of the ocean. The two oldest sisters were twins, known as Duva, the Hidden One, and Kolga, the Cold One. The next sister is Blodughadda, the red-haired and cruel sister. Her name symbolizes red sea foam. The next one is Bara, whose name stands for foam fleck, suggesting the moment that a wave hits the shore. Bylgja, whose name means billow, or breaker, is next, followed by Hrǫnn, or welling wave, and she had a twin Hefring, standing for a rising wave. The last ones were Unn, meaning frothing wave, and the youngest Himinglava, standing for a transparent wave.

The father of Heimdall is Odin, the king of the Aesir tribe. According to a legend, the love between the nine maiden sisters was like no other. Their union was firm. As a result, when one of them decided to lay with Odin, in opposition to the wishes of their father, Aegir (the god of the sea), the other eight sisters stood by her to cover up her disobedience.

There is one more theory about several mothers of Heimdall. Some suppose that Odin bedded all nine of the sisters. This option would have been quite brave on his part, bearing in mind that the maidens were nine vicious mermaids. Either way, at least one of them gave birth to Heimdall.

Heimdall is considered as the father of all people. Before he was given the responsibility of being the watchman of the Bifrost, he traveled the world, visiting a variety of married couples. His stay with each couple lasted for three nights. The first couple were serfs, the next were poor farmers, and the last couple was the aristocracy. Nine months after each visit, a child was born.

The first child was known as Thrall he was unattractive but very strong, and he became the ancestor of all serfs. The next child was Karl. He was a skillful farmer and became the ancestor of all peasants. The third was Jarl, the ancestor of warriors and nobles. He was clever and skillful at hunting and combat.

I hope that you’ll find some symbolism here that can help you create your tattoo design. Until then think before you ink?


Relationships

Family

Heimdall's parentage is disputed. By some accounts, he is descended from giants. By others, he is the offspring of all nine daughters of the ocean deities Aegir and Ran. Ώ] His father is believed to be Odin. Ζ]

Countless mortal humans are descended from Heimdall. According to the legends of Midgard, Heimdall once spent a night at each of three families' houses, and blessed them according to how well he was treated at each. Thereafter from those families were descended the three social classes: nobles, free peasants, and serfs. Ώ]

Several of the great kings of Denmark can claim descent from Heimdall. Γ]

Enemies

Heimdall and Loki are mortal enemies. Loki considers Heimdall overly self-righteous while Heimdall has nothing but contempt for the trickster Loki. Α]

Heimdall is fated to slay Loki at Ragnarok. Heimdall will himself die of his wounds shortly afterward. Loki will attempt to forestall this by stealing Heimdall's sword, but it will not change his fate. Ώ]

Allies and minions

Heimdall is a valued guardian of the gods of Asgard.

He rides a great horse, named Gulltop.

Heimdall's divine proxies include Olaf Trollslayer, a lawful neutral human fighter with the ability to see at a distance of 30 miles and Sven Trollslayer, a human fighter of equal repute who can hear a spider's footsteps. Α]


Appearances [ edit | edit source ]

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What Christian influences are there in the Prose Edda, besides the prologue?

I've often read that there are Christian influences in the Prose Edda:

Snorri’s Edda was later nicknamed the 'Younger Edda' because much of it derives from older sources. What those sources were is a matter of speculation. Some researchers believe Snorri based it largely on folkloric oral traditions that he may have heard, while others think he used an elder written Edda. However, experts agree that he did add many of his own details. As a result, he gives readers a more elaborate version of Norse mythology that at times reveals his Christian influence.

https://www.ancient.eu/Edda/

The euhemerized account of the origins of the Norse pantheon in the prologue is one example:

But although the prologue has a primarily narrative function, and the author does not obtrude his own personality into it, he does appear to be trying in it to define his attitude to the mythology he is presenting and to clarify the relationship of the religion implied by the mythological stories in Gylfaginning to his own beliefs and to the Christian culture within which he was writing. Undoubtedly one of his motives for including the prologue, and maybe the chief reason for the use of the framing device itself, was to avoid the criticism that his stories were dangerous to orthodoxy.

Faulkes, Anthony (1985). "Pagan Sympathy: Attitudes to Heathendom in the Prologue to Snorra Edda" as collected in Glendinning, R. J. Bessason, Heraldur (Editors). Edda: a Collection of Essays. University of Manitoba Press. ISBN 0-88755-616-7

But how about the stories themselves? Are there, for example, any notable differences between the stories that appear both in the Prose and the Poetic Edda that reveal Christian influences?


Saga(s)

/ sah-guh /
noun
One of many long stories of heroic achievement focusing on Norse, Icelandic and Viking related history and folklore, recorded in Iceland during in the 12th and 13th centuries.

Vikings came from a rich cultural heritage of storytelling and poetry. The poet was one of the most respected persons in Norse society and could always expect wealth and welcome in exchange for their talents. Even Odin – the Allfather and the chief of the Aesir gods – was a god of poetry. The tales of gods, heroes, and history found perpetual life in the mead halls of the Vikings. . however, the Vikings never wrote any of it down.

The Vikings had runes, which served as both letters and glyphs for specific meanings. However, runes had ceremonial or even magical purposes. Vikings had no intention of using these sacred conduits to the gods for writing stories. No – the tremendous oratory and lore of the Vikings were meant to be passed on from person to person with the human voice.

Viking lore might have fallen by the wayside and been lost to the mists of history, had it not been for a unique intellectual phenomenon in Iceland a century or more after the last Vikings died.

How Iceland Saved Viking Lore

A majority of the written sources we do have are from Iceland. Vikings discovered Iceland in the middle of the 9 th century. This discovery led to a land rush as many families were eager to carve out a new life in this austere place of stark beauty. Many of these settlers were escaping Harald Fairhair and other despotic kings who were nation-building in Scandinavia. These pioneer families were fiercely independent and wanted to preserve their way of life and culture without becoming the serfs of greedy lords.

Consequently, many of the Vikings who settled Iceland were from western Norway. Other Vikings came to Iceland indirectly, by way of the Hebrides, Orkney, Ireland, or the Faroe Islands, with Celts from those lands making up portions of their households.

The Vikings set up a democracy in Iceland, with a firm sense of law based on honor and restitution. In the year 1000, the Icelanders voted to accept Christianity as the public religion, while allowing people to practice whatever religion they chose in private. This decision was made for the sake of peace and to keep up with the changing times. But this peculiar conversion would have another effect as well: while Viking descendants in Christianized Scandinavia, Normandy, England, and elsewhere actively distanced themselves from their pagan past, the Icelanders were much more comfortable with that part of their heritage. This, combined with natural isolation and a conservative disposition, led to Iceland remaining a bastion of Old Norse culture.

Even today, a thousand years later, the modern Icelandic language is very similar to Old Norse. Though some word meanings and pronunciation have naturally shifted, Icelandic college students can read the Medieval manuscripts without much difficulty. This retention of language is a tremendous testament to the cultural preservation that occurred in that island nation.

In the middle of the 13 th century – more than 150 years after the last Vikings sailed the seas or stood in battle – Iceland was undergoing a violent political crisis. This crisis of politics became a crisis of identity, and perhaps because of this, there was a strong intellectual impulse to record the remnants of their ancient heritage. For the first time, Viking lore was set down in writing for future generations to read.

This creative impulse expressed itself in two forms: The first was the Eddas – the collected poetry and myths of the Old Norse gods, goddesses, and heroes. But the second impulse may have been the more remarkable: the Icelanders set down the stories of their ancestors – ordinary men and women. These sagas were a unique accomplishment in medieval literature. Even today, the sagas are recognized as one of the world’s great literary achievements and a forerunner of the modern novel.

Even in the Viking Age, poets from Iceland were considered among the best. But after their time, their descendants expanded the Norse oral tradition into a vibrant literary culture. To this day, Icelanders read more books and even write more books per capita than any other nation in the world.

A Remarkable – but Imperfect – Recollection

The Eddas and sagas powerfully demonstrate the strength and vigor of the Norse oral tradition. The poems are remembered so faithfully that modern scholars can determine the time and place in which each one was originally composed based on their wording, grammar, and syntax. Though there are many contradictions in the literature, there is also incredible cohesion.

For example, in The Prose Edda, Snorri Sturluson mentions Thor’s feet crashing through the bottom of the fishing boat as he angled for the Midgard Serpent known as Jörmungandr. This same curious detail is depicted on the Altuna runestone (as seen to the right). This runestone was carved hundreds of years before and hundreds of miles away in Sweden – a stone Snorri was unlikely to have ever seen. Proving that these stories had united Vikings across vast distances of time and space.

Despite this precision and cohesion, there are limitations to the surviving body of Norse literature. A lot of it is missing. The Eddas mention that there were 12 or more gods and 12 or more goddesses – but most of our stories rotate around about 10 (total), with three or four superstars. The scribes compiling The Poetic Edda had to use prose narratives to join the surviving fragments together. It is difficult to determine how much Norse lore is lost to us, but it seems that we only have a small percentage of what once was.

Another limitation is bias. The revival of Norse lore that took place in Iceland in the 13th -14 th centuries was the preservation of heritage, and not a pagan revival. The Christian compilers and writers of the sagas and Eddas took a range of attitudes towards the faith of their ancestors.

For example, in The Prose Edda, Snorri states the Aesir were not gods at all but were heroes traveling to Scandinavia from ancient Troy. Snorri elaborates on this theme in his Ynglinga Saga. This was a popular convention amongst medieval historians to try to tie their past to ones that were more widely valued in Europe. This objective accomplished, a few pages later in the Prose Edda, Snorri abandons this narrative and goes back to calling the Aesir and Vanir gods, depicting them creating the world, and performing other supernatural feats.

Even in The Poetic Edda, there are a few verses that may be Christian revisionism. Similarly, in the sagas written in later times, berserkers – with their highly pagan connotation of devotion to Odin – are usually portrayed as evil brutes.

The great majority of surviving Norse literature comes from Iceland, so we should not be too surprised to find it has a pro-Icelandic slant. Since most Icelanders were from Norway and the various Viking ports in Ireland, Scotland, etcetera, these places are also portrayed favorably. Meanwhile, many mentions of Sweden and the Baltic are negatively charged, sometimes even described as “Mirkwood” and a dark land of dragons, dwarves, giants, and savage men. Many of the villains in the sagas are Swedish Vikings. It is important to remember that the Vikings settled in numerous regions and adapted to conditions there. So, while Viking Age Iceland may be a model Norse culture, it is not the only version of Norse culture.

The Prose Edda

The Prose Edda was written around 1222 by Snorri Sturluson, the "Homer of the North." Snorri was an Icelandic politician credited with Egil’s Saga and the Heimskringla (History of the Kings of Norway). Snorri seems to have deliberately written The Prose Edda as a guide for the preservation and continuation of Norse poetry. Modern readers should not let this “textbook” designation deter them, though: The Prose Edda is am extremely accessible, concise work of about 100 pages that offers the most complete survey of Norse lore available.

No one is sure what the term "Edda" means, or why Snorri named his work that. "Edda" was a colloquial Icelandic term for great-grandmother, and so it may be that Snorri was emphasizing the element of heritage in Norse lore. The term stuck, and not only was the later collection of poems called “The Poetic Edda," but all Norse poetry has come to be known as "eddic poetry.” It is, of course, also called “skaldic poetry” after the Norse bards or skalds.

The Poetic Edda

The Poetic Edda is a collection of about three dozen very old Norse poems. The volume is not every surviving Norse poem, but it is the most extensive collection. The Poetic Edda presents in the fullest and most complete available way what the Viking oral tradition was all about. The Poetic Edda was first collected in one book around 1270 – almost 50 years after The Prose Edda. It is still sometimes called The Elder Edda because the poetry dates back to the 9 th , 10 th , and early 11 th centuries, and some of the source-material may go back even further.

The works collected in The Poetic Edda fall into two categories: poems of gods and poems of heroes. The poems of gods offer some of the best collections of Norse mythology, with most of the major stories being represented: the creation of the world, Ragnarok, the battle of the Aesir and the Vanir, Thor’s fishing for the Midgard Serpent, and many others. Meanwhile, the heroic poems are primarily concerned with human (or sometimes elf or dwarf) protagonists. Many of these works elaborate on The Volsung Saga, in much the same way that modern people are always making prequels, sequels, and reboots of our favorite movies.

A seated bronze statue of Thor (about 6.4 cm) known as the Eyrarland statue from about AD 1000 was recovered at a farm near Akureyri, Iceland and is a featured display at the National Museum of Iceland. Thor is holding Mjöllnir, sculpted in the typically Icelandic cross-like shape. It has been suggested that the statue is related to a scene from The Poetic Edda where Thor recovers his hammer while seated by grasping it with both hands during the wedding ceremony.

When The Poetic Edda was first translated into English in the 1800s, an effort was made to make the pieces overly formal and flowery like Greco-Roman poetry. Today, newer translations keep the blunter, more straightforward style of the original. One of the best ways to appreciate The Poetic Edda is not to read it, but rather to listen to it on Audiobooks or other platforms. The poems, after all, were meant to be recited and heard.

Famous Eddic Poems

There are about three dozen poems in The Poetic Edda. Here are a few of the more widely appreciated ones.

Both Voluspa (The Song of the Seeress or The Song of the Sybil) and Voluspa en skamma concern Odin's conjuring of a witch's ghost to try to gain insight into how he might forestall Ragnarök, the terrible end of the world.

Through the poems, the volva sorceress describes the epic fate of the gods including the final battle between Thor and the serpent Jormundandr, the final battle between Odin and the Norse wolf Fenrir and the final battle between Loki and Heimdall (the guardian of Bifrost, the rainbow bridge). She discloses to the hearer many other secrets of the Norse cosmos. These dark poems are full of awe and essential for understanding the Viking view of fate.

Both Grimnismal and Vafthrusnismal tell stories of Odin traveling the world in disguise and gradually revealing his divine nature to his unlucky hosts. These plots form a frame for much of Norse cosmology and lore to be revealed, including tales of Valhalla and Yggdrasil.

Havamal (Sayings of the High One) is a long poem that may have once been four different poems. It is words ascribed to Odin himself. The chief of gods reveals much about his nature and abilities but spends most of the poem giving the listener down-to-earth advice. Because of its format, Havamal is sometimes referred to as the Vikings’ “Book of Proverbs” and strikes many modern people as a sort of “Viking scriptures.” Havamal offers a fascinating view of Viking ethics and ethos and gives the reader more wisdom with each reading.

Rigsthula is the tale of the god, Heimdall, traveling in disguise through Middle Earth, and interacting with humans. On the surface, the story is bawdy and comical – but Rigsthula uses these metaphors to describe social order and to offer a grim warning to the dangers of concentrated political power. As such, Rigsthula is one of the most striking and “most transparent sociological commentaries of its time” (Crawford, 2015).

Norse mythology is loved for the uniquely human qualities of its gods and goddesses. In LokasennaThe Taunts of Loki – the Viking god of mischief and treachery crashes a divine drinking party and brazenly confronts each of the gods with their deepest darkest secrets.

The Norse Saga

The Norse word “saga” comes from the word for “saying.” These stories were the oral histories of families passed on from fathers to sons and mothers to daughters. Indeed, the style of the Norse saga conveys this form of a meandering, straightforward, unembellished story. Anyone who has had the privilege of leisurely discourse with grandfathers or older, extended family will immediately recognize the nature of these narratives.

When they were written, the style and scope of the sagas were highly unusual. The currency of medieval literature was formal poetry, and the subject matter was usually tales of kings, saints, or other elites. Yet in Medieval Iceland, a literary form emerged that was prose, and – more remarkable still – many of the protagonists were largely ordinary people such as farmers, lawyers, women, warriors, poets, slaves, or outlaws.

In this way, the Norse saga predicted the modern novel and has many similarities. But unlike the modern novel, where an author tries to develop a unique "voice," the Norse saga has a very straightforward narrative style. This style is seemingly at odds with the Norse poetry style with its hyperbolic action and emotive kennings. While modern writers try to all sound different, Norse saga writers tried to all sound the same, and while skaldic poetry tried to amp-up the drama of their tale, Norse sagas use a stripped-down style to emphasize plot.

Norse sagas come in several genres. Of these, three most concern the Viking enthusiast: the heroic/legendary sagas (fornaldarsögur), the historic/kings’ sagas (konungasögur), and the “sagas of the Icelanders” or “family sagas” (Íslendingasögur). The legendary sagas are stories of gods and heroes set in the distant, murky past. They are full of dragons, werewolves, and fantastic elements. The king's sagas set down the lives of rulers and historical events that shaped the Viking world but include dialogue and other dramatic elements to bring these stories to life.

The family sagas, by contrast, tell the stories of real Icelanders. While these stories usually have plenty of fighting and Viking raids, they are not exclusively about that. Family sagas are about human relationships, the struggles of survival in a stark land, and a surprising amount of legal drama. Through the family sagas, one gets to appreciate the complexity of Viking life, the depth of these people's intelligence and strength, the richness of their culture and quality of their lives.

The Sagas as History

The sagas are the collective memory of a people written down lifetimes after the events they describe. Therefore, one must be cautious in using them as a historical source. Some experts go so far as to label the sagas “historical fiction” or to warn us that using them as history would be like using John Wayne movies as a source for your college paper on World War II. Such criticism may be going too far. Certainly, the sagas vary in terms of historical accuracy and/or historical merit (i.e., how much truth they add to the historical picture). Yet, because of the detail one finds in sagas that one could not find anywhere else, they are essential to understanding what happened, why, and ultimately what it felt like to the people who lived it. The sagas are not necessarily history as facts and sequences, but rather history as experiences remembered.

Famous Sagas

There are many sagas, including about 40 family sagas. Here are a few of the most famous, over various genres.

Sometimes referred to as “the Iliad of the North,” The Volsung’s Saga (Volsungasaga) is the archetypal legendary saga. There is ample evidence that this was the Viking’s favorite story. Along with its contemporaneous continental cousin, The Nibelungenlied, The Volsung’s Saga has directly or indirectly influenced almost every western fantasy since, from Wagner’s operas and Tolkien’s Lord of the Rings, to Star Wars and Game of Thrones. The Volsung’s Saga is a story of a cursed treasure, and how this treasure ruins the lives of the people who claim it, culminating in a blood feud between the best of friends.

The Volsung’s Saga is set in the early-middle 5 th century when Goths and Huns battled for survival and supremacy. But despite a cameo by Attila the Hun, The Volsung’s Saga is a work of high fantasy. It has almost every conceivable element: dragons, dwarves, spirits, shape-shifters and werewolves, divine intervention, forbidden love, orphaned heroes, revenge, madness, suicide, betrayal, murder, blood oaths, chosen ones, fratricide, superheroes, prophecies, talking animals, cannibalism, incest, Valkyries, inexorable fate, rune lore, sleeping beauties, intrigue, magic weapons, and lots of sex and violence.

This tale was so popular amongst many Nordic/Germanic peoples for many centuries that it generated several versions. Volsungasaga is the Icelandic version and follows the Volsung family primarily. The Germans wrote a somewhat more Christianized and romanticized version called The Nibelungenlied that followed the Nibelung family. As already mentioned, The Poetic Edda contains many poems that elaborate on the tale.

The Saga of Hrolf Kraki is not quite as famous or as influential as the Volsung’s Saga, but it is a deep source of legend. Hrolf Kraki is a Scandinavian warlord who gathers a group of extraordinary heroes around him to right wrongs and attain glory. Thus, Hrolf Kraki is something of a Viking version of King Arthur, complete with an epic, tragic ending. The Saga of Hrolf Kraki also contains an alternate, Viking version of the Anglo-Saxon Beowulf tale. The legendary sagas like Hrolf Kraki are so old and so embellished that they only contain the specter of real history, but recently archeologists have uncovered sites in Denmark that seem to match up with some episodes in the Hrolf Kraki story.

The Saga of Ragnar Lothbrok and His Sons

Ragnar Lothbrok is one of the most famous Vikings of all time, with mentions to him and his sons throughout sagas, poems, and even non-Viking sources (like the Anglo-Saxon Chronicle). The Saga of Ragnar Lothbrok and His Sons (Ragnars saga lodbrokar) is the most complete saga form of his story. Ragnar’s saga has legendary elements (like a magical serpent/dragon, curses, improbable genealogies, and protection charms) but is set just before the founding of Iceland and has many verifiable historical details. This saga is the main source for the first few seasons of the TV show Vikings. The saga presents Ivar the Boneless as physically disabled (while most other sources do not mention that). Unlike the TV show, the saga does not include Lagertha. Lagertha appears as Ragnar’s shieldmaiden wife in Saxo Grammaticus’s 13 th -century Gesta Danorum, a multi-volume history written in Denmark.

Egil’s Saga is probably the best of the Icelandic family sagas for Viking enthusiasts. Set in Norway, Iceland, and England from about 850-1000, the saga tells the story of the Skallagrim clan. The central hero is Skallagrim’s son, Egil, the quintessential Icelandic Viking – a farmer, raider, businessman, soldier, bodyguard, avenger, lover, father, lawyer, and of course an accomplished poet. Egil travels the North Atlantic in search of adventure and trying to stay one step ahead of Erik Bloodaxe (the real-life Viking king of York) and his wrathful witch wife. Egil’s Saga balances some over-the-top violence with intelligence and artistry, giving a full view of what it was like to be a 10 th century Viking.

Njal’s Saga is one of the most highly-developed and respected of all the Icelandic sagas. It is considered by many to be a literary masterpiece, and more 13 th -14 th century manuscripts survive than any other saga. The central character, Njal, is a man of peace who is highly respected for his wisdom, but even this is not enough to keep him and his family safe from the bloody feuds fate sends their way. Njal’s Saga has some excellent and memorable fight scenes, but most of the drama arises from the relationships between the many characters. The saga covers the Christian conversion of Iceland in 1000, and the cataclysmic Battle of Clontarf, which closed the Viking Age in Ireland in 1014. It also gives an unparalleled view of Norse law and politics.

The Laxdale Saga (also called Laxdæla Saga or The Saga of the People of Laxárdalr) may have been the second most popular family saga during the Middle Ages, based on the number of surviving manuscripts. This may be surprising, considering that the Laxdale Saga is no tale of bloody adventure like The Saga of the Volsungs or Egil’s Saga. The Laxdale Saga is the story of several families settling in Iceland, and the tragic love triangle that arises between a woman, Gudrun, and two best friends, Kjartan and Bolli. As usual, there is plenty of travel, politics, feuds, and honor at stake, but The Laxdale Saga is a complex, sentimental tale of love, loss, and regret. Some experts believe this saga may have been written by a woman, due to the uncommon perspective. There were female skalds (poets and storytellers) in Viking Age Scandinavia, so perhaps there were in post-Viking Iceland as well.

The Saga of Gisli Sursson

The Saga of Gisli Sursson is an example of how Icelandic saga writers moved away from the canned tales of heroes that most of their age was preoccupied with, to cover real people with real moral dilemmas. The protagonist, Gisli, finds himself honor-bound to kill one brother-in-law to avenge another brother-in-law. Gisli then spends many years as an outlaw, running from men who are sworn to kill him.

The Saga of Grettir the Strong

Like The Saga of Gisli Sursson, Grettir’s Saga is an outlaw saga. The namesake character, Grettir, is a young man naturally gifted with great strength and boldness to the point that he is almost like a mortal version of Thor. But unlike Thor, Grettir has streaks of stubbornness, recklessness, cruelty, and an inability to fit in that spoils his relationships with other people and ultimately lead to him living the life of an outcast.

Grettir’s hero/anti-hero nature gives a modern, Tarantino-like feel to this saga. The Saga of Grettir the Strong also has many supernatural elements (like ghosts, witches, miracles, and zombies) but maintains a sort of “magical realism” tone. While some – or even all – of this saga may be fictitious, today in Iceland, there are many physical sites connected to Grettir and his feats.

The Vinland Sagas (the Saga of Erik the Red and the Greenlander’s Saga)

Perhaps no sagas have as much interest to modern readers as the Vinland Sagas. Both The Saga of Erik the Red and The Greenlander’s Saga tell the story of the founding of Greenland (around 985) and the Viking exploration of the American continent around the year 1000. The two sagas disagree with each other on some details, and struggle to convey the wonders that were passed down by word-of-mouth over all those intervening years. But here are written accounts of lands to the far west, complete with indigenous peoples, written hundreds of years before Columbus. Viking sites consistent with these sagas have also been discovered and substantiated in Newfoundland, off the coast of Canada. Being right about North America lends credibility to the Norse sagas in general. You can read more about the Vinland Sagas in our four-part series on them here.

Norse literature is the extension of Norse oral tradition and is one of the richest and most imaginative of cultural heritages anywhere. We are lucky that this body of work has survived and been passed down to us, and indeed it has influenced so many people in so many ways. We encourage the reader to try these fantastic poems, stories, and books to gain a fuller experience of this art and to be edified by the men and women who came before us. The lives, loves, and wisdom of the past can lead to better understanding and appreciation of what humanity shares regardless of time or distance.

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To learn more about Viking history, we recommend our 400+ page, self titled book that is available here.


Archaeological record

The Gosforth Cross panel often held to depict Heimdallr with Gjallarhorn

A figure holding a large horn to his lips and clasping a sword on his hip appears on a stone cross from the Isle of Man. Some scholars have theorized that this figure is a depiction of Heimdallr with Gjallarhorn. ⎬]

A 9th or 10th century Gosforth Cross in Cumbria, England depicts a figure holding a horn and a sword standing defiantly before two open-mouthed beasts. This figure has been often theorized as depicting Heimdallr with Gjallarhorn. ⎭]


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