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An investigation of Gullveig in Old Norse mythology

& her anti- cosmic nexus

ByVexior,218

MMX

t>f

Mu%>

AWfrk

An investigation o/Gullveigin Old Norse mythology

& her anti-cosmic nexus

GULLVEIG EMBRACED IN

EMBELLISHED WITH

1$>wkdi*L4 ^^ttiwasum c ^(lWu>Hf

TOGETHER WITH

an illumination on the Old Norse belief in the adverse powers of the underworld. And an
elaborate study and view upon the underworld as a primordial source of the anti-cosmic

current.

* * *

GULLVEIGARBOK

By Vexior

All rights reserved. No part of this book may be reproduced or utilized in any form or
by any means, electronic or mechanical without permission in writing from the pub-
lisher.

All Old Norse references translated into English by Vexior, mostly from Bugges edition

ofScemundar Edda, and Heimskringla. The author would like to give credit to Heim-

skringla which has advanced and nourished his profound research in rare ON

literature.

Illustrations by Helgorth and Vexior.

"Loki finds Gullveig's Heart" illustrated by John Bauer in 19 11 for "Our Fathers God-
saga" by Viktor Rydberg.

Calligraphy font made by Vexior for the Gullveigarbok.

www.vexior.se
www.fallofman.eu

Explanatory

Introduction . „

I:ISogum

Gullveig In Aldna

Gullveig's Misini

Gullveig, the VYb:

Gulveig s Brother Hrossj

Hei<5r .

Aurboda —

Angrboda....— ~~

Hyrrokin

A Saemundar Edda- > ~_ ir
A Snorra Edda- > : .

Undirheimar .

Hel - In Svarta

The Offspring

Fenrir 1

Jermungandr

Hati, Skoll, and

Gullveig and Lilith

Jarnvidr

Kennings and M<
Gullveig and Lok
Ihe Death ot Baldr
II: Fjelkyngi

mot

Seta

v ILt — mm mm m a m m t u i

Gullveigar Riinar
HI: Ljod

rlennar

rlotninaz
The Old Will rhmh
Granantr

: <

11 —II

Appendix

Index

wtihzed in any form or
from thepub-

: mr ~. t Bugges edition

i Wu Vfgvc credit to Heim-
wrstanh in rare ON

1911 fir 'Our Fathers God-

<^&W^

Explanatory 11

Introduction 14

I:IS0gum 28

GullveiglnAldna 32

Gullveig's Misinterpretation as Freyja „ 41

Gullveig, the Wolves and Werewolves' Ancestress & Fosterer. 47

Gulveigs Brother HrossJ>j6fr. , 49

Heidr 50

Aurboda 56

Angrboda , 61

Hyrrokin 67

A SaemundarEdda-Study on Gullveig 71

A Snorra Edda-Study on Gullveig 85

Undirheimar 88

Hel-InSvarta 97

The Offspring 109

Fenrir 110

Jormungandr 114

Hati, Skoll, and Garmr 116

Gullveig and Lilith 117

Jarnvidr „ 124

Kennings and Meanings 133

Gullveig and Loki „ „ .148

The Death of Baldr. 1 70

ILFjolkyngi 184

Blot 189

Seta 193

Vitt „ , 196

Gullveigar Runar. 197

HI:Ljod 210

Hennar 213

tbl6trunaz 215

The Old Will Climb.... 217

Granautr 219

Ama « „ 221

Skassleikr 223

Appendix 227

Index 234

UUsi^KtfH

Plate I: Gullveig, Heidr, andAurboda ascend from Niflheimr. 30

Plate II: Gullveig as the rime-thurs crone Heidr. 35

Plate III: Loki finds Gullveig's Heart 39

Plate IV: Angrboda 63

Plate V: Hyrrokin 70

Plate VI: Loki comes loose 168

Plate VII: Heldrasill 229

Plate VIII: Chaos' acosmic current 232

Explanatory

PRONUNCIATION KEYS

p (J>) - as in thin

d (£)) - as in this

<z (M) & a (A) - as in cat. An accent denoting a longer syllable (ae).

(0) & o (O) - close to her. An accent denoting a longer syllable (d>).

In early Scandinavia the letter o was frequendy used for a slightly different o-sound,
but it was replaced with the character & during the early medieval age. Normally I
am very picky with keeping to the original spellings and such, but due to their sim-
ilarities and mix-ups I have chosen to replace the character o with the o in this book.

ABREVIATIONS

AD anno domini
BC before Christ
Etc. and others; and so forth
E.g. for example, such as
I.e. that is
OE Old English
01 Old Icelandic

ON Old Norse; i.e. Old Scandinavian; Scandinavia which for me includes
Iceland.

I would also like to explain some of the chosen words that I use in this book. Some
of them maybe seen as unusual and old, but the reason why I chose these words is
that they often etymologize with the Old Norse words and so make for a better fit.
Take for example the English word "rime"; it derives from the Old Norse word hrim.
Equally, the Old Norse words for giant purs and jotunn I have anglicized into "thurs"
(pi. thurses, adj. thursian) and "jotun" (pi. jotuns). In this manner, I can use the
more pure form "rime-thurs" instead of "frost giant" - although they mean the same

GULLVEIGARB6K

thing. Furthermore, I use the Old Norse names in their original approach only, since
those are the true names and I think that renaming them just to make it easier for
foreigners to pronounce and remember them is to patronize people and mock the
giants.

In my book I will use the name Hel only for the giantess who rules over the dead
and Niflheimr, Gullveig s daughter with Loki. And I will only use the name Helheimr
for the world of the dead in the underworld (which is otherwise commonly called
only Hel). I do this to avoid unnecessary confusion in an already confusing and
complex subject.

I would also like to explain my understanding of the difference between a thurs-
giant and a jotun-giant. In my profound studies of the ON mythology the thurses
from Muspellzheimr and Niflheimr are the only ones who are malignant and adver-
saries; as Muspellzheimr and Niflheimr are located beyond the underworld in Chaos.
All other giants, e.g. jotuns (jotnar) and mountain-giants (bergrisar), belong to the
underworld and are most often mythological allies with the vanir and osir-gods. An
example of this can be seen in the ON term hrim- which only belongs to the cold-
ness and darkness of Niflheimr, Hvergelmir, and its powers; as the rime-thurses are
always of three important elements: l) Ice, 2) Darkness, and 3) Aversion. And as
hrim- is exclusively associated with nifl- } the two have adopted each other s traits.

In Gylfaginning it is told that AucJhumla licked on the salty ice until Buri was ex-
cavated. This was before the world and the dsir were yet created, there were only
primordial entities; according to Gylfaginning there only existed Ymir the rime-giant
and AucShumla the cow. Gylfaginning is the only source that testifies to Audhumla's
involvement in the creation. However, taken from Gylfaginning^ words, the dsir-
gods came from the line of AucJhumla s race (Buri was her first son, and he is Odinn s
grandfather), and the adverse and primordial giants came from Ymir, hence the
thurses. And Gylfaginning speaks of this adverse thurs-race in the line of Ymir: "We
do not acknowledge him (Ymir) god; he was evil and all his kindred. We call them
rime-thurses." So the j>urs-race was malevolent and adverse towards the creation.
And the jetunn-r&cz was seen as benevolent; as the jotunn-xzco, was in time more
adapted to the creation, and later became allies with the dsir and vanir.

Cleasby and Vigfusson separate the race Pursar from fetnar in An Icelandic-English
Dictionary: "the Titans of the Scandin. Mythology were so called, as opposed to and older
than the common Jotnar (Giants)."

Skirnismdl, stanza 3
dslidar», which for me

1. jotnar = giants

2. hrimpursar =

3. synir Suttimp -

4. sjalfir dslidar =

Gylfaginning (21
do this three times if d

Bosa saga ok HerrauS
hallxr, hatipik hrin^f
verdiper, nemapu lilja
arates them.

Explanatory

tmpoal approach only, since

nst to make it easier for

■ -".:-- " rie and mock the

who rules over the dead
■ jse the name Helheimr
commonly called
d an already confusing and

Skirnismdl, stanza 34, says: «Heyri jotnar, heyri hrimpursar, synir Suttungs, sjalfir
dslidar», which for me obviously categorizes and divides the races perfectly in:

1. jotnar = giants of the underworld

2. hrimpursar = giants of Niflheimr

3. synir Suttungs = giants of Muspellzheimr

4. sjalfir dslidar = the ctsir

Gylfaginning (21, 42, and 49) separates them as «hrimpursar ok bergrisar»; why
do this three times if there was no difference between them?

■ . : t r etween a thurs-

iogy the thurses

r. - gnant and adver-

: . Torld in Chaos.

' , belong to the

and ^sir-gods. An

" :" : i.:r. z s to the cold-

^B as the rime-thurses are

e. aad 3) Aversion. And as

dopied each other s traits.

Bosa saga ok Herrauds says: « Troll ok dlfar ok tofimornir, buar, bergrisar brennipinar
hallir, hatipik hrimpursar, hestar stredi pik, strdin stangipik, en stormar ceripik, ok vei
verdipir, nema pii vilja minn gerir» . Not too far from how the Gylfaginning saga sep-
arates them.

e until Buri was ex-
there were only
Ymir the rime-giant
es to Aucihumla s
words, the tesir-
t first son. and he is OcHnns
from Ymir, hence the
in the line of Ymir: "We
I his kindred. We call them
e towards the creation.
:*^-race was in time more
and vanir.

in An Icelandic-English
rflfti ds opposed to and older

GULLVEIGARBOK

This is my Gullveig-studies and understanding thus far - many more
arcana will henceforth be solved, new knowledge will be
absorbed, and numerous more riddles will be
unraveled. This work can never be comp-
leted, so consider this book a glimpse
into my boundless devotion
to Gullveig.

The investigation of a dead religion from the past in the present is a challenge that
craves a sober and realistic perspective in its analysis. The challenge is not just to
understand the deep metaphors in the Old terminology and big gaps in the limited
literature and archeological evidences; it is to understand the Old Norse peoples'
perspective of the physical world and the spiritual. Through all these years of my
researching, I have found that it is too easy to build a modern understanding of the
Old, instead of trying to think like a poor farmer in Scandinavia during, for example,
300 AD. That said, it might even be better to look upon the Old Norse belief from
a modern perspective; it might allow us to reach a deeper understanding: because
our research conceives and manifests the past in the present. And as we do so -
evoking what is dead and putting it on paper - we analize the facts and try to put it
together in the best way we see fit. Some researchers follow the pack - me, I spread
my wings and face the head wind like the black dragon.

J0TUNHEIMR AND A

I would like to start

(purs and jotunn) and :heir

also want to start this r>ook

to make it easier to undeista

which I devotedly foil :w. C

cosmic Satanism.

ticism which was built

religions is called

creation of the cosm T~ e

clean light - a metapr.rr to

tyrant than a savior In Chan

of Gnosticism and r_ >c * ;: a

called Chaos beyond th^

tional multiverse. Th

imprisons them so :

unenlightened, while tin

who will enlighten

you out of the shadd

unto the acosmic Cr

thus seen as the def

bonds. This is how I

essence onto the th

ON sagas to be d

which dwells in C~ i : >

powers who relenile

vanir; MidgarcJr—

Chaosophic perspe

THE CREATION

Ginnungagap 2 is the
ness dwells. This rr^rs

itless quantity of time
throughout the cc >~ ^s
rrcauseof
nature it is not

Introduction

- many more
fee will be

^resent is a challenge that

cnaiienge is not just to

r ; gaps in the limited

" = Old Norse peoples'

- i- these years of my

m understanding of the

during, for example,

Old Xorse belief from

w understanding: because

resent. And as we do so -

cts and try to put it

the pack - me, I spread

J0TUNHEIMR AND ANTI-COSMIC GINNUNGAGAP-THEORY

I would like to start by giving an illumination on my way of beholding the giants
(purs and jatunn) and their dark powers in the Old Norse mythology and magic. I
also want to start this book by explaining briefly the foundation of my belief, so as
to make it easier to understand my vision of the Old Norse mythology and religion,
which I devotedly follow. Chaos-Gnosticism is the innards of my belief, so is anti-
cosmic Satanism. Chaos- Gnosticism is inspired by the ancient religion called Gnos-
ticism which was built on the belief that the cosmic demiurge - who in different
religions is called Yahweh, God, Zeus, OcJinn, etc. - is the evil god in the material
creation of the cosmos. The light that the demiurge is distributing is a false and un-
clean light - a metaphor for a lie and an illusion - and the demiurge is more of a
tyrant than a savior. In Chaos-Gnosticism the Satanist adopts the fundamental roots
of Gnosticism and fuses it together with the belief in an acosmic Chaos - i.e. a "state"
called Chaos beyond the cosmos, a "state" which I believe is an acosmic pan-dimen-
tional multiverse. Thus, the cosmic demiurge is an evil god who enslaves souls and
imprisons them so that they become nothing more than a shell of clay; blind and
unenlightened, while the true light bringer, Lucifer-Loki-Prometheus 1 , is the savior
who will enlighten you with the authentic light, and guide
you out of the shackles of the demiurge to finally transcend
unto the acosmic Chaos. The anti-cosmic Chaos-powers are
thus seen as the destroyers of causal structures and cosmic
bonds. This is how I transfer the anti-cosmic purposes and
essence onto the thurses, as the thurs-powers are told in the
ON sagas to be destroyers; they come out of Ginnungagap
which dwells in Chaos, and evidently they are the wrathful
powers who relentlessly aim to destroy the worlds of the
vanir; Midgardr- earth, and cesir; Asgardr-heaven. With a
Chaosophic perspective its not hard to understand the nexus.

1 Prometheus and Loki's
mythos are very much in anal-
ogy: light-bringers and pun-
ished in the same way by the
demiurge.

2 Hypothetically an original un-
derstanding of this epithet
could have been the void of the
Chaos-powers.

THE CREATION AND THE INVASION

Ginnungagap 2 is the infinite abyss beyond the cosmos, where the everlasting dark-
ness dwells. This primordial abyss is the pan-dimensional Chaos, which has a lim-
itless quantity of time and space dimensions and it is where everything within and
throughout the cosmos originally comes from. Ginnungagap is a formless eternity
because of its pan-dimensions and multi-potential traits. And because of its acausal
nature it is not bound by the limitations of the causal law, and thereby it is a lawless

Gullveigarb6k

totality that, without restrictions, is continually evolving: the eternally dynamic in-
finitude. The ON prefix ginn- and the Greek word khaos both derive from the same

stem: the Sanskrit word ghen, which means emptiness and
abyss. This is vital information for us in understanding how the
ON people looked upon the creation and where it came from.

Gap var ginnunga 1

1 Normally translated into "a
yawning gap".

Ginnungagap, as Chaos, held all, which even included the opportunity for cosmic
forces to take form. In Veluspd it is told:

In the very beginning when nothing was, nor sand nor sea, nor cold waves;
earth was not, nor upper-heaven, a yawning gap, grass was not.

of the Chaos-thurs Ymir
he was deformed : with
thurses. In Vajprudnismd

Out of Elivagar %
thence are our kirxlrw

In Vafyrudnismal it i

Under the hand on
one foot ,\ :-

In Gytfaginning it is toi

It started with a threefold of structural forces:

1) The cold in the form of the world of ice, mists, and darkness called Niflheimr,
and its rime-well Hvergelmir, they were located in the north; in a place where ex-
ploding ice-masses ruled the lands; and roaring crackling gigantic ice-bergs filled
its black waters. And from the bottomless rime-well springs the black poisonous
waters called Elivagar which divides into eleven rivers called Svol, Gunn]?ra, Fjorm,
Fimbuljml, SlicJr and Hrid, Sylgr and Ylgr, Vic5, Leiptr and Gjoll. And so, immense
dense fog was created from these waters; hence the world in the north was called
Nifl or Niflheimr. And the ruler of this cold world is the giantess Hel.

2) In the south, heat was created and its flaming surroundings were called
Muspell or Muspellzheimr - the world of fire and light. It is also the home of the
world-destroyers called the Muspells synir, sons of Muspell, and Suttungs synir, sons
of Suttungr. And the ruler of this flaming world is the almighty thurs called the black
one and the one with a burning sword, Surtr. In Veluspd 52 it is told:

Surtr fares from the south with incinerating flames,

the warrior's sword shines like the sun;

rocks rumble and clash; fiends reel;

dead men tread Helvegr and heaven is cloven.

3) After the world of ice and the world of fire grew so big that they met together,
the heat melted the ice and created yeasty poisonous waters, which have been called
kvikudropar, life-drops - supposedly the seed of the spirit. And existence in the form

By no means do .-.e

we call them rimeth

him, and there grev. jnd

begat a son with tfv

Out ofYmirs left
created, and they were
other than that thev
- they are but a
gave birth to \
/as a deformed and
turn gave birth on h
thurs called Bergehnit.

Something th

to the Gylfapnntr^

'chispa in skamma X

Seizla. Since they ar

early stage of th

:i:

LINE OF THC

Oneach>:if

~.iv ;- :r.i ■

Introduction

ving : the eternally dynamic in-
mo> both derive from the same
, which means emptiness and
s in understanding how the
eaten and where it came from.

opportunity for cosmic

- : - : * sea. nor cold waves;
grass was not.

it : daiKness called Niflheimr,
the north; in a place where ex-
; gigantic ice-bergs filled
c> the black poisonous
-. -■ . _ - i Svol, Gunn]?ra, Fjorm,
ptr and G10IL And so, immense
ic world in the north was called
is the giantess Hel.

nine surroundings were called

_ ;: . : I: is also the home of the

'• '. _ - : . . . and Suttungs synir, sons

le almighty thurs called the black

_ it is told:

flames,

t~ sun;

s coven

rig that they met together,
. which have been called
And existence in the form

of the Chaos-thurs Ymir (also called Aurgelmir by the rime-thurses) was created;
he was deformed 1 with four mouths and he was gigantic compared to normal
thurses. In Vajprudnismdl it is told:

Out of £livagar venom-drops spattered, growing until a giant was;
thence are our kindred come all together, so it is they are malignant forever.

In Vajprudnismdl it is also told:

Under the hand on the giant rime-thurs grew maid and man together
one foot with the other bore, for the wise thurs, a six-headed son.

In Gylfaginning it is told:

By no means do we acknowledge him (Ymir) god; he was evil and all his kindred:

we call them rimethurses. Now it is said that when he slept, a sweat came upon

him, and there grew under his left hand a man and a woman, and one of his feet

begat a son with the other; and thus the races are come; these are the

rimethurses. The old rimethurs, him we call Vmir.

Out of Ymir s left hand 2 a male thurs and a female thurs were
created, and they were not spoken of more in the mythology
other than that they were the first ancestors of the thurs -races
- they are but a mystery 3 . But Ymir s third offspring, which he
gave birth to with his feet, was spoken of as I>riidgelmir,- he
was a deformed and wrathful six-headed thurs - who in his
turn gave birth on his own, like his father did, to a horrible
thurs called Bergelmir.

Something that should also be considered is that according
to the Gylfaginning-ssigsi, Vafyrudnismdl, Grimnismdl, and
Veluspd in skamma Ymir also gave birth to Mimir and his sister
Beizla. Since they are also both giants, it is self-explanatory in
this early stage of the creation that all giants come from Ymir.

THE LINE OF THURSES

On each side of the gaping chasm called Ginnungagap two
worlds lay, in the south there was the world of flames which

1 As form as in the shape of a
human belonged to the mir-
gods; litrgoda, not to the giants.
The giants were connected to
the ON saying skipta litum, to
change 'form'

2 Pa ox undir vinstri hond honum
madur og kona. Gylfaginning.

3 First, I claim that they were
thurses just like ifonir was. He
was a pure rime-thurs, so his
offspring must be rime-thurses
as well, just like Pnidgelmir.
And secondly, my most credi-
ble guess of whom these two
mysterious rime-thurses given
by Ifmir by his left hand (!)
would be Gullveig and Loki;
due to the known thursian ge-
nealogy* And the flames of
Surtr or Muspellzheimr af-
fected Loki's entity.

Gullveigarb6k

was called Muspellzheimr, and in the north a world of mists, darkness and ice which
was called Niflheimr. And as immense Muspell-flames reached out to the outer rim
of Niflheimr, an oozing icy sludge started to break free in dense mists from ages of
crystallized stagnation. Black ice turned into sludgy water because of the heat and
as it invaded the cosmos, it was allegorized to be as poisonous as an alien and anti-
cosmic power, thus its definition 'thursian power' or in ON pursamegin. And from
the icy sludge of the poisonous waters an abysmal water- well was created, and it
was called Hvergelmir - father of all rivers. When the Muspell-flames collided with
the Nifl-ice another phenomenon took place: the first rime-thurs was born out of
the black ice. He was called Ymir, and the rime-thurses called him Aurgelmir. He
can easily be seen as the Chaos-current which is invading the cosmos. Ymir created
the giant race called purs by himself. The first mentioned race was rime-thurses after
their father Aurgelmir, and they were all evil in essence, attributes and manifesta-
tions, and most often deformed in appearance. The thursian race would become
eternal enemies with the dsir and the vanir: adversaries to the new and definite
realm of the cosmos - hence their adjectival umbrella term "anti-cosmic". Other
races were created in the beginning, although later, after the thurs-race had grew
strong; one of the later races was called jotun, which was in time more adapted to
the cosmic realm and adjusted very well, and later they became allies with the new
non-giant races called dsir and vanir. The jotun-race was seen as a benevolent one.
The aesir sprung from the same source as the jotun-race, and they all were created
much later in time than the thurses.

as the rime-thurses
1 Ice 2

the C rreflx

•u:

If the giants come from the rime-thurs Ymir and Niflheimr with their poisonous
essence, how come there are benign giants that are even friends and allies with the
dsir 7 . The most common answer to this that I've come across is that the ON mythol-
ogy and religion were not "dualistic" or "monotheistic", that "all was inspirited with
both the dark and the light", there were simply "no sides"; "no good and evil". Hy-
potheses which in my opinion are incorrect, as Gylfaginning szys in plain words: he
(Ymir) was evil and all his kindred (the rime-thurses). And even S&mundar Edda' s
old saga Veluspd allegorizes Gullveig as an evil and adverse giantess; and what about
Surtr, Nidhoggr, I>jazi and Hrimgerdr, for example? They are all antagonists and
adversaries to the gods and the world. Another problem that misleads and obscures

things is that the ON word jetunn is used for all giants; e.g. in
hrimkalda jetun; an epithet for a rime-thurs and not a jotun.
Still, according to me, Ymir and his race are of an acosmic and
opposing heritage (from Chaos) in comparison to the cosmos;
«hann var illur og allir hans cettmenn, pa kollum vir hrimpursa» l .

1 "He was evil and all his kin-
dred: we call them rime-
thurses." Gylfaginning 5.

:^~ c

Introduction

darkness and ice which
es reached out to the outer rim
nee ir. dense mists from ages of
water because of the heat and
sonous as an alien and anti-
pursamegin. And from
-well was created, and it
jspell-flames collided with
irst rime-thurs was born out of
: :"_. ;d him Aurgelmir. He
cosmos. Ymir created
race was rime-thurses after
attributes and manifesta-
_ : ^lan race would become
to the new and definite
term "anti-cosmic". Other
£ : the thurs-race had grew
cb v n time more adapted to
tcame allies with the new
x wi~ -een as a benevolent one.
and they all were created

aflheimr with their poisonous
friends and allies with the
is that the ON mythol-
iiat "all was inspirited with
d ■;*■ "no good and evil". Hy-
:. : g says in plain words: he
jid even Scemundar Eddas
giantess; and what about
are all antagonists and
Mem that misleads and obscures
tunn is used for all giants; e.g. in
tx a rime-thurs and not a jotun.
r.z --- race are of an acosmic and

f comparison to the cosmos;
pa kollum vir hrimpursa» l .

According to my studies, it is clear that thurses from Muspellzheimr and Nifl-
heimr are the only malignant ones. All other giants who exist outside the two above-
mentioned worlds belong to the underworld instead of beyond it, and are allies
with the gods. Let me take Nifl as an example; why is it that only thurses are asso-
ciated with rime (ON hrim), as in hrimpursl Never have the epithets hrimjotunn or
hrimdss ever been used in the ON sagas. The ON term hrim- only belongs to the
coldness and darkness of Niflheimr, Hvergelmir, and its pow-
ers; as the rime-thurses are always of three important ele-
ments, l) Ice, 2) Darkness, and 3) Aversion 1 . If you take a
look at the ON prefix hrim-, it can also mean soot black,
which remains for example in the Icelandic word hrimugur,
sooty, and it might be connected to the infamous darkness of
Niflheimr, and in fact that Hel the giantess; ruler of Nifl-
heimr, was seen as a black hue 2 .

As hrim- has been exclusively associated with Nifl-, in my
opinion both have adopted each other's meanings. ON nifl
derives from the Old High German nibul, German nebel,
Latin nebula, with the meaning of fog, mist, and darkness.
Qeasby and Vigfusson strengthen my argument that pursar
are a separate race from j0tnar, if you look under hrimpurs in
An Icelandic-English Dictionary they say: "the Titans of the
Scandin. Mythology were so called, as opposed to and older than
:he common Jotnar (Giants)." And in Skirnismdl, stanza 34, 1
think it shows a perfect example of that there was a difference
between jotnar and pursar: «Heyri jotnar, heyri hrimpursar,
synir Suttungs, sjalfir dslidar», "hear me jotuns, hear me rime-
thurses, sons of Suttungr, and all the gods".

1 Aversion towards the creation
or the cosmos, or if you like the
world-tree (Yggdrasill) and its
beneficiaries (that is to say all
life).

2 I think Skirnismdl 35 confirms
this with the line «Hrimgrimnir
heitirpurs, erpik hafa skaljyr nd-
grindr ne8an» t "the thurs is
called Hrimgrfmnir who you
shall belong to far below the
corpse-gate'"; as it refers to a
threat of something terrible.

3 Gylfaginning is the only source
that has saved the myth of
Audhumla s involvement in the
creation.

4 "She licked the salty ice-
blocks, and the first day that she
licked the blocks, there came
forth from the blocks in the
evening a man's hair,* the sec-
ond day, a man's head; the third
day the whole man was there.
He is named Buri." Gylfaginning
6.

THE LIGHT BECOMES FALSE

In Gylfaginning it is told that Auohumla 3 licked on the salty ice until Buri was exca-
aited: «Hun sleikti hrimsteinana er saltir voru. Og hinnfyrsta dag er hun sleikti steina
lamt ursteininum adkveldi mannshdr, annan dagmannshofud,pridja dag var par allur
miadur. Sd er nefndur Buri» 4 . 1 understand this as, taken from its exact words, the
dtsir (gods) came from a line of AucJhumla's race (Buri was her first son, and he is

Finn's grandfather), and the adverse and primordial giants came from Ymir.

■ Ifapnning says: "We do not acknowledge him (Ymir) god; he was evil and all his

GULLVEIGARBOK

■■i

kindred. We call them rime-thurses". These lines actually say that his evil kindred
are called rime-thurses only, not «hrimpursar ok bergrisar», rime-thurses and moun-
tain-giants, as in other places in Gylfaginning.

Now Surtr and his offspring were the thursian rulers of the south, and Erudgelmir
and his offspring were the rime-thursian rulers of the north. These sources gave the
opportunity for the cosmos to be created, and in time the jotun-family of the jotun
Biiri 1 became more adapted to the cosmic forms and laws, which in the long run

formed the new races called vanir and dsir. The ruler of this fam-
ily had the demiurgical place as a god and was born with the
purpose of being the cosmic head representation and creator
of form, laws, and the worlds. He was named OcJinn - and
called by many other names: Allvisi, Valfadir, and Herfadir -
and he had two brothers who would help him create a world
fitting to the cosmic nature, which of course could not be as
lawless and pan-dimensional as Chaos (this can be compared
to the mythological saga of Tiamat and Marduk, where Tiamat
is connected to water.) Structure, law and form were the foun-
dations of his idea. So a demiurge he became 2 ; Odinn the god
of heaven, the tyrant, and his two brothers, Honir and LocJurr,
the triad which has been explained by Snorri to represent spirit,
soul and flesh. However, from the primordial sources - Muspell
and Nifl - came the true light and the true knowledge, which
in other traditions are called gnosis. This knowledge was the
pure understanding from the world beyond the cosmos.
Gylfaginning says, "first was the world in south, which was
named Muspell; it is light and hot; the region is glowing and
burning, and impenetrable to outlanders and have not their
holdings there." Nifl has similar traits but it is cold and dark; it
emanates poisonous icy waters instead of flaming light. It's a
place that is explained in the ON sagas as not being available to
the dsir-gods-, the gods could not see it, nor reach it. It was there
where l?jazi and his thursian brothers would move their smithy
and home to - in the northern wintry lands where no god could approach them. It
is the opposing and wrathful place (i.e. adverse towards the cosmos) of thursian
powers only, and the light that shines from it is not the light of a cosmic sun, it is
the light of acosmic knowledge and languages of Chaos. It invades the cosmos with
something the Old Norse people called eitr; poison. And its current is metaphori-
cally described as "poisonous rivers" coming out of underwordly wells. The original

•

1 It is a mystery what he actually
was, but in my bookBuri is a giant

2 «Ok fyrir pvi rnd harm heita
Alfodr, athann erfaoHr cdlragodanna
ok manna ok alkpess, er afhonum
ok hans krajti varjuBgert», 'And by
this he must be called All-father:
because he is father of all the gods
and of men, and of all that was ful-
filled by him and by his might"
Gylfaginning9.

3 Ymir, also called Aurgerlmir, is in
my opinion a representation of the
power-flow called "poisonous
rivers" moving from acosmic
realms into the cosmos. His name
Aurgelmir means our- "(watery)
mud" or "humus", and -gelmir is
translated into "stormy waves".
This name actually hints as to
Ymir s nature. With earth being a
symbol of "bringing into cosmic
life", you could here see the con-
nection between the womb called
Ginungagap and Aurgelmir - one
being the womb, the other being
the extractions from it

: ~ 1 '-. i

. -~

from the Greek won!

Introduction

? = v that his evil kindred
lime-thurses and moun-

s of the south, and t>ru<5gelmir

r : r. ~. These sources gave the

zrtun-femily of the jotun

/hich in the long run

ir.i~ The ruler of this fam-

a eod and was born with the

^presentation and creator

He was named 6cnnn - and

■tol \ alfadir, and Herfadir -

. : _ . ,r him create a world

_ j : ^ourse could not be as

lacs { this can be compared

ut cr. x Marduk, where Tiamat

and form were the foun-

ge he became 2 ; Ooinnthegod

: thers, Honir and LocJurr,

ed bv Snorri to represent spirit,

ordial sources - Miispell

nd the true knowledge, which

aosii. This knowledge was the

• world beyond the cosmos.

te wcrld in south, which was

hot; the region is glowing and

ootianders and have not their

t~ but it is cold and dark; it
: of flaming light. It's a
as not being available to
nor reach it. It was there
would move their smithy
z - could approach them. It
ds the cosmos) of thursian
light of a cosmic sun, it is
It invades the cosmos with
d its current is metaphori-
rdry wells. The original

well is called Hvergelmir, father of wells, and its shore is called filivagar 3 , and £liva-
gar itself is divided into eleven rivers which are all the main sources of the acosmic
light transformed into anti-cosmic light, and since acosmic light can only exist be-
yond the cosmos, it has to change when it penetrates the cos-
mos, which in turn are translated as the Hidden Knowledge of
Chaos 1 . All the thurses and other giants are the wielders of this
hidden light. A human recipient of this hidden knowledge in
Old Scandinavia was calledj^/fcimmgr, one skilled in the black
arts (from jjelkyngi, black art); a word that I believe derives from
the same root as the rune kyn (<) - kunna; which in its turn de-
rives from the Greek word gnosis (see further down for a thor-
ough explanation). A jjelkunnigr could also be called a
seidberandi - seidberendr (pi.), sorcerer(s) or carrier(s) of seiftr.
And Veluspd in skamma says: «seidberendrfrd Svarthdfifa», "all
seidhberendr come from Surtr".

1 The ON people did not have
the word "chaos" as what we
know of, but ginn- in Ginnun-
gagap can actually be looked
upon as the ON word for
Chaos, as the ON word ginn
and the Hellenic word khaos
derives from the same Sanskrit
stem ghen, void; and the ON
people did believe in the same
so-called "void" or "space of
emptiness" where Ginnunga-
gap once emerged from. The
theoretical sources of the poi-
sonous waters beyond the un-
der worldly wells, £Jtgar<5r and
Ginnungagap, justify this.

2 Snorri forced Odinn into be-
coming some sort of a
monotheistic god, which is not
historically correct Odinn was
a demiurge and ruler of AsgarSr
and Valholl, but he was not a
singular tyrant over all worlds
in the original mythology. See
further down.

Now, Odinn is put in the sagas as the all wise-one, he is up-
held as the demiurgic god who is the creator and ruler of all (the
cosmos). This has been a bit misunderstood over time, and
twisted more and more into the form of a monotheistic religious
axiom. From the early times it is proven that the ON mythology
and religion were polytheistic in nature and the different worlds
had different rulers, not one ruler of all as it is often confusedly
stated. This twist is an influence of monotheistic religions as
Christianity, and as Christianity came to Scandinavia during the
times when the Eddas were collected and transcribed into new
documents, they were naturally influenced by it 2 . Odinn has ai-
rs been looked upon as the all- wise and a ruler of Asgaror, Valholl, and even Mic5-
gardr, but only the worlds of the gods and the humans, not the world of the giants
r the world of the dead. Here is where the confusion appears, people tend to pri-
' tize only two worlds in the ON cosmology and that Odinn therefore is ruler of
4-1 but they put the whole underworld aside and they definitely do not care about
the realm called UtgarcSr. For example, Surtr is the mighty sovereign of Miispel-
bheimr, and Hel is queen-ruler of Niflheimr and the dead in the underworld
through Helheimr - this proves that the ON belief-system is based on polytheism.
0£inn has been called "god of the dead" though, but that is, by fact, because the
> say that all human warriors who die in battle will be sent to Odinn's halls and
foin his heavenly armies in Valholl. It has nothing to do with the underworldly realm
called Helheimr, which is the leading world of the dead.

GullveigarbOk

Mythological information and remnants that lead us to the fact that Odinn was
not the wisest entity in the cosmos can be found, for example, in the saga called
Vajprudnismdl, in the Edda where Odinn himself recognizes the giant Vaf^ruonir 1
to be the all- wise one. Odinn uses these words exactly in the saga: «inn alsvinna
jotun» } "the all-wise giant", as he explains to his wife how excited he is to meet this
giant. Odinn goes to this giant in search for more hidden knowledge, and he also in-
tends to test the giant s wisdom, and it ends up that the giant can richly answer all

Odinns questions, as Odinn repeatedly praises the giant as
being all-wise. If Odinn already knew everything, as his epithet
Allvisi suggests, the visit of VafJ>rudnir would be pointless, and
Odinn would not have uttered his excitement over this inter-
view to his wife. The sagas are in fact full of these small hints
that contradict Odinns, and other dsir's, absolute wisdom and
power over the thurses. The question is who chooses to read
them.

1 VafJ>ruc5nir is supposedly
translated to wise in riddles.
But my own research shows
that the translation the powerful
entangler would be a more fit-
ting translation. The two trans-
lations are not too far from each
other, but to use the word "rid-
dle" is limiting Vaf]>ru5nirs
qualities to just riddles when
that is not the actual case.

2 Gylfaginning.

3 Also called Sawiundar Edda
and the Elder Edda.

4 Also called Snorra Edda and
the Younger Edda.

5 Throughout this book I have
added the adjective "black" to
the thursian magic, runes, and
powers, as their essence derives
from "the black ones"; namely
Surtr, Svarhefii, Hel, In Svarta,
and Gullveig.

Here you can tell by reading Gylfaginning that Snorri
"forced" Odinn to become All-Father, by using compelling in-
tentions in sentences like "And this is my belief, that Odinn and
his brothers, must be rulers of heaven and earth. And he must
be so called. So is that man called whom we know to be might-
iest and most worthy of honor, and let him be so called." 2 This
way of compelling the reader to choose a side reminds me of
Christian authorship and approach, and Snorri, who was one
of the ON authors behind the writing and collecting of the ON
mythology, was a Christian.

Before I dive into my Gullveig-investigations I feel I have to mention something
about the view upon the Old Norse sagas, especially the Poetic Edda 3 and the Prose
Edda 4 . How they were tampered with by poets who lived off their poetry and per-
formance, and diminished into pleasant tales for kings' courts and farm-families'
amusement during long cold and dark winters. The original sagas and the dark as-
pects of the Chaos-creatures such as troll, giants and their black magic 5 is cut out
purposely, in the knowledge that nobody would hire a poet to tell such horrid sagas.
But the converting religious mass did not wipe out all traces and left us with small
details that can today verify the belief and evocation of underworld powers; Tolley
confirms this: "The term troll was used of giants and other beings that were involved

of this magic, but al
moos with witch). It b
attv to imparl

tn
d

oademned in Noci

::: : :

whichl

:.-

ibk

HO- 1000 AD, bat

200- 1500 AD: and

-i_

Introduction

ustc

^ : ct that Odinn was
mple, in die saga called

- • -.:.: giant Vat^niSnir 1
:.-.-. - 1 c i ■ « inn a Is v i n n a
re is to meet this

c t and he also in-

- : ; richly answer all

es the giant as

everything, as his epithet

1 be pointless , and

: rr. = r. : over this inter-

: : ■ ese small hints

:::._:. 'visdom and

who chooses to read

~z >ffaguming that Snorri
by using compelling in-
rc behet that OcJinn and

- : . :.ntk And he must

e know to be might-

him be so called." 2 This

: * i _ - . d t reminds me of

and Snorri, who was one

liecting of the ON

1 1 have to mention something
Edda ; and the Prose
c neir poetry and per-
::> and farm-families'
: r : c . " i ^agas and the dark as-
iieir black magic 5 is cut out
i poet to tell such horrid sagas.
II traces and left us with small
of vnderworld powers; Tolley
m er r eings that were involved

in malicious supernatural activities, and came to be applied not only to the object
of this magic, but also to the practitioner (so that it sometimes becomes synony-
mous with witch). It is clear that troll could be summoned in ritual magic, presum-
ably to impart information, but perhaps also to carry out tasks, as this is explicitly
condemned in Norwegian laws («at vekja troll up» f "to wake up trolT). W1 Snorri
was Christian and deliberately took out the dark glorifications

1 Clive Tolley, 2009, Shamanism
in Norse Myth and Magic.

and even added many Christian aspects to the old sagas. Even
the episode about the new born lovely world of the gods after
Ragna Rok in the Edda has very strong similarities with the
Bible's tale of the apocalypse and the rebirth of the new world with Jesus (Baldr) in
it, which I personally suspect to have been just a Christian influence. Remember
that the Scemundar Edda (the Elder Edda is looked upon as the most accurate and
credible version of our Old mythology and religion) was a collection of hand-writ-
ten sagas most likely found in Norway and on Iceland sometimes during the years
800-1000 AD, but hand-transcribed to the book Codex Regius sometime during
1200- 1 300 AD; and it is from this majestic book the today s Edda (Scemundar Edda)
comes from. How accurate the transcription is I do not dare to guess, knowing that
Scandinavia was Christianized around 1000-1 100 AD, which makes me wonder if
Christians were the ones making this transcription. Certainly, they were the ones
that were versed in the scriptures. And all this after clearly putting in the complex
saga about Ragna Rok that Surtr took his burning sword and burned all of the
worlds and all within them. But the fact is, Ragna Rok does mean the end of the gods,
which seems to have been ignored and forgotten.

THE GERMANIC
ANALOGUE PURPOSE

This is a short map of the analo-
gies between the primordial
tmirs-powers and their ana-
logue purpose. This is my own
hypothesis made from an in-
tense study of the Old Norse
mythology, and it is one of the
foundations of my work.

Niflheimr

NicJhoggr r

Gullveig

Jormungandr |>

CHAOS

Ginnungagap
I

Muspellzheimr J, <

Surtr 5

Loki<
Fenrir i

Hel I, II

Gullveigarb6k

THE ICE LINE - f SS:

The |-rune stands for the rime and ice elements connected to these powers, and the
Krune connected to Niflheimr stands for the spreading of the thursian powers, the
eitr, through Hvergelmir. But eitr is an outcome of both Nifl and Muspell, as the |-
rune represents the Nifl, the <-rune represents the Miispell, and the Krune repre-
sents (the outcome) of them both as in the eitr. And if you bind I and < together as
a bind-rune you will get the Krune.

Niflheimr is the world of mists, ice and darkness, and the source of the thursian
essence: this is because the well Hvergelmir is located in Niflheimr, and Hvergelmir
is the main source of the poisonous waters from Elivagar. Elivagar means the icy waves
and its name is an allegory of its icy source; el means ice/rime in Old Norse. And

Elivagar in turn is split up into eleven rivers, which are spread-
ing throughout the underworld and feeding all kinds of powers.
They are even feeding its poison to the roots of the world tree
so that it rots and dies from within, and thus everything and
everyone that the tree nourishes. 1

1 That's why I believe Yggdrasill
to be a Yew-tree, because Yew
carries poison, eitr, while Ash
does not.

Nidhoggr is the primitive Chaos-spawn who dwells in the depths of Hvergelmir
recreating himself into legions. He is the transcendent thursian power and the mir-
ror-image of the acosmic Chaos power. He is a black wrathful dragon who feeds on
human corpses, humans who have died through all the underworlds down to the
abysmal bottom where Nidhoggr s darkness lays. This could be seen as those en-
lightened (i.e. followers of Thursatru and Satanists) who have by their own will trav-
elled all the way down to NicJhoggr's darkness and been embraced by it. As a
twin-essence to Surtr, I see Nidhoggr as the lava running out of Muspellzheimr
through Niflheimr, and materializing in the depths of Hvergelmir into the poisonous
rivers that flow out of the well. The rivers look like serpents; the brood of Nidhoggr.

Gullveig is the Teutonic and Germanic highest feminine principle of darkness
- the maid, the mother, and the crone. She is the sinister arch-mother of the giants
and the black arts. She is the divine feminine manifestation of the analogue thursian
purpose.

THE FIRE LINE - ELDR:

The 5-rune stands for the destructive aspect of fire, and the <-rune stands for the
enlightenment of the divine fire, as in gnosis.

Muspellzheimr is the woi

lightening flames 1 - its fire
and eldr. Muspellzheimr > rui
dor. Its flames activated the h
allegorized poisonous w i
The thursian elements of Mi
from a dormant status Out c
thing equally horrible • je
massive and overpowering gjl
as the entity of the eve
giant Loki, unlocked from ttn
oundless intelligence Thesi
sent the very purpose of tins I

Surtr is the highest prinri|
what of a parallel to Satan, d*
Surtr is the pure mar.
red rooster* or 'me fire r
banteinn) - created bv the en
will use to burn do *~ =
beyond the underwork! m d
which is called SokkdahrM
rent emerging from '

oified in the ana

hich are the pure

Loki is the
Prometheus in the
Gnosis. They share this

ime braveness 15 Loafer w§
poisons of Hv= *. Imirarooq
braveness m the act ofbringa
punishment as Loki :
Jam the Hero and the Locke
was the son of the
mother was the giantess

Introduction

Id these powers, and the

-.hursian powers, the

>fifl and Muspell, as the |-

jfapefl, and the ►-rune repre-

bmd ! and < together as

e of the thursian
. and Hvergelmir

r. - the icy waves
i i iroe in Old Norse. And

ewenri er- -■■-.- ..:'r. are spread-

all kinds of powers.
ie toots of the world tree
■ dais everything and

ofHvergelmir
power and the mir-

: r. who feeds on
lie underworlds down to the

:en as those en-
bo have by their own will trav-
: r , . t -":r: ;ed by it. As a
muni cut oi Nfospellzheimr
t . ... - r r:: the poisonous
pen t - I r e : - : : d of Xidhoggr.

n ciple of darknes s
: - : r -~- : ther of the giants
of the analogue thursian

md the <-rune stands for the

Muspellzheimr is the world of fire, the foundation of the destructive and en-
lightening flames 1 - its fires are variously referred to in ON as mtispell, hyrr } eimr,
and eldr. Muspellzheimr s ruler is Surtr and his sons are called suttungar and eldan-
dar. Its flames activated the black poison of Niflheimr s ice and sent it on its way as
allegorized poisonous waters; here a connection with the Nifl-mists might be found.
The thursian elements of Muspellzheimr and Niflheimr were thereby unleashed
from a dormant status. Out of these horrible powers some-
thing equally horrible was unleashed as well: first came the
massive and overpowering giant called the black one; Surtr
as the entity of the ever-incinerating force; then came the
giant Loki, unlocked from the blazing flames with wrath and
boundless intelligence. These very connected giants repre-
sent the very purpose of this fiery world.

1 Incinerates your ego and en-
lightens your spirit

2 The Black Flame is correspon-
ding to Chaos Gnosis; the
Black Dragon; the Chaos
Flame; Lucifer's Flame;
Prometheus' Flame; Kingu's
Blood, etc.

Surtr is the highest principle of the giant-race; he is some-
what of a parallel to Satan, they serve closely allied purposes.
Surtr is the pure manifestation of the destructive fire, his son has been called 'the
red rooster' or 'the fire fiend', and Surtr himself has a burning Muspell-sword (Gam-
banteinn) - created by the cunning Loki and perfected by the evil E»jazi - which he
will use to burn down everything within the cosmos. He dwells in the deep abyss
beyond the underworld, in the world called Muspellzheimr, in a valley of darkness
which is called Sokkdalir (the deep valleys). He is the pre-eminent anti-cosmic cur-
rent emerging from the raging Chaos, He is the Chaos-Fires in Muspellzheimr per-
sonified in the ancient Scandinavian mythology. Surtr spews black light and flames
which are the pure essences of each Satanic individual's lit Black Flame 2 .

Loki is the giant of enlightenment and can be compared with Lucifer and
Prometheus in the aspect of being the distributor of the Black Light or the Chaos
Gnosis. They share this quality in the Old Norse mythology and Loki has also the
same braveness as Lucifer when he infiltrates Asgaror, and there he wields the black
poisons of Hvergelmir amongst ctsir, vanir and people. Prometheus shares the same
braveness in the act of bringing forbidden enlightenment and also receives the same
punishment as Loki by the demiurge for this act. Some call Loki a trickster; I call
him the Hero and the Locker, the Scatterer and the Dissolver. In the mythos, Loki
was the son of the hurricane-and-thunder-giant Farbauti (the bale striker), and his
mother was the giantess Laufey (leaf-isle), it is supposedly an allegory of the light-
ning that set Laufey aflame, and from this fire Loki emerged. He displays the fiery
character that eventually brings about Surtr s destruction with fire of the worlds -
mis fire is called muspilli. And when it comes to Loki s sly plans, he was always long

GullveigarbOk

ahead, and he always formed them so that the most maleficent plans seemed to be
the most beneficent and favourable; even the sword he called Gambanteinn - which
he created for Surtr to destroy the worlds - was gladly treasured and claimed by
the aesir for a while, unknowing of its anti-cosmic purpose. Wit, viciousness and
bottomless spitefulness is coalesced in the essence of Loki.

VIKTOR RYDBERG

1 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary.

2 Cleasby-Vigfusson, 1 874, An
Icelandic-English Dictionary.
Palm, 2004, Vikingarnas Sprdk,
Heggstad, Hodnebo, Simensen,
2008, Norren Ordbok.

3 Hellquist, 1939, Svensk Ety-
mologisk Ordbok.

4 Leijstrom Magnusson, 1943,
Islandsk-Svensk Ordbok.
Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary.

I would also like to bring up the difference between Ragna
Rok and Ragna Rokkr, which I think is relevant. First, the ON
word ragna is formed from ON regit (regin), and it was used by
the Old Scandinavians as an umbrella term for "the gods as the
makers and rulers of the universe." 1 Rek is the older usage and
it means fate or end 2 , and the word rekkr derives from the Old
Germanic word rikwiz which means darkness. 3 Rokkur (rekkr,
rekr) is still in usage today in the Icelandic language and it means
darkness or dusk. 4 The transformation from rek to rekkr in the
meaning of Ragna Rok is probably an allegory and made during
the middle ages. And this is why I have chosen to use exclusively
the wording Ragna Rok in this book.

1 would also want to n
^vas one of the few that daz
and wrathful nature as weD
mg thurses as much
discredited by manv becan
and scholars, and this is x
and his amazing work or
i Germanisk Myfhologi 188
me in manifold ways.

Introduction

£er..r-: rians seemed to be

^L.^: Gambanteinn -which

-red and claimed by

jse. Wit, viciousness and

•Li

between Ragna
rant First, the ON
, and it was used by
— : : : tne gods as the
is the older usage and
decrees trom the Old
Rtikkur (rekkr,
and it means
to rekkr in the
i made during
exclusively

VIKTOR RYDBERG

I would also want to mention Viktor Rydberg and his Old Norse studies, since he
was one of the few that dared to look on the Old Norse mythology and see its dark
and wrathful nature as well as it s good and calm. Rydberg allegorized the threaten-
ing thurses as much as mythologists through time have allegorized the dsir. He was
discredited by many because he dared to challenge the mainstream of mythologists
and scholars, and this is as typical as shocking. I would like to pay tribute to him
and his amazing work on Old Norse mythology and religion called Undersokningar
i GermaniskMythologi 1886-1889; with this Rydberg - a mastermind - has inspire
me in manifold ways.

I: I Sogum

dmdtt

... unsprjdr kvdmupursa meyjar
dmdttkar mjek or Jotunheimum.

GuBveig:j . :
pursanutrin s&n er t

HedGutl:: c

^w=m

r/%

-//«♦

Gullveig : Heidr : Aurboda 1

Heil Gullveig: heil gygr seids oksvartra rilna.

Heil Gullveig: gygr seidsins.

Heil Gullveig, undir ok djerdu: Heil Gullveig in vitra:

Gullveig: fyrst alin hrimpursinum Hrimni ok heitin prjdr hrcedilegar pursameyjar:

pursamcerin sem er ein ok prjdr: prysvar brend: prysvar borin: mcer okfelagi Loka:

verdr ok drottning Myrkvidar.
Heil Gullveig: Heil Gullveig med nofnin Heidr, Angrboda, Hyrrokin ok Aurboda:

Heil Gullveig in vitra:
Heil Gullveig in aldna:

f;:V/-

->*«$?

-ZC"'

>*r x

-^*-if.

*=d£^

*fcfcL

•Sfe

•«Ur WmJ

xnrhnix : ntm : mmt •

GULLVEIGARBOK

$#i$e*g 9k <33W

downfall; to infect die sc
burn and dissolve from ?
hreig s rune I and Lob
of the sacred runes of Gulhre
cated to strengthen their

Gullveig was from
she is known as the
in the atrocious dark woods
ironwood, mothering and sp
wolves. This is symbolized i
underworldly crone; cantes
at midnight up from under j
boners of the black : - • :
the black runes and anti-cos
r-rune and the X-rune. She 1
and "the three thurs — 2
telling:

...until the three r

-^±

GULLVEIG

First-born and first burnt) her death created j0rmungandr.

y&::

The thursian race was black and wrathful in essence and will - abnormally formed
because of their unnatural condition in the cosmos, like Ymir himself. Some of these
thurses had special purposes and extraordinary circumstances; two of them were
Gullveig and Loki. They were both shape-shifters because of their multi-aspectual
traits, and their powers went beyond those of regular thurses. Gullveig, the Old One,
was the originator of magic and transformation, which made her into a very pow-
erful giantess. This is why she could dwell amongst the (esir-gods without being de-
tected as an intruder in Asgaror; she appeared as a goddess in form and essence,
fooling even the demiurgic ass Odinn in his own halls, though Gullveig s true
essence (allegorized as a heart in the sagas) was made purely out of the poisonous
black ice of Niflheimr, and Lokis out of the furious flames of Muspellzheimr. Their
purpose was to lead all of the thursian races in bringing the cosmic existence to its

The Edda is one of the
holding a woe
Yoluspd which is a foretelhn
rich allegorization starts *.

*: starts to procreate an
* build" the cos m iom his
with the glorification of the
happy, built migh empk
games in their might*

and the journey towards Ra

three
the same

doemtheC

Gullveig In Aldna

SkvU*

downfall; to infect the soul of the universe with the "poison" of Chaos and let it
burn and dissolve from within. This is represented in the /k-rune, which holds Gul-
lveig s rune I and Loki s rune <; and it is also represented in the X-rune, which is one
of the sacred runes of Gullveig; it also holds the l-rune and the <-rune, both dupli-
cated to strengthen their meanings and magic.

Gullveig was from the beginning known to be huge and terrible; as Angrboda
she is known as the black formidable mother and crone, dwelling as the sole ruler
in the atrocious dark woods from the underworld in Jotunheimr called Jarnvidr,
ironwood, mothering and spawning legions of deformed thursian wolves and were-
wolves. This is symbolized in the i-rune. And as Heidr she is known as the black
underworldly crone; giantess of the black anti-cosmic runes and magic, who comes
at midnight up from under ground and walks between houses to visit the practi-
tioners of the black arts (or jjolkunnigr, as they were called), to teach them about
the black runes and anti-cosmic magic. This is represented in the mysteries of the
"f -rune and the X-rune. She has been called "she, the old one", "she, the wise one",
and "the three thurs-maids". This is how Voluspd introduce Gullveig early in its fore-
telling:

...until the three thurs-maids came, very mighty maids, from the worlds

of the giants.

■:.;•'.

*-H - iboonnafly formed
. ? ei£ Some of these
t*-7o of them were

i * -*'

cause of their multi-aspectual
~ _.--•_• o _ iveig, the Old One,
- her into a very pow-
- c : ds without being de-
: : j i — in form and essence,
balls though Gullveig s true
out of the poisonous
of Muspellzheimr. Their
ir.e cosmic existence to its

The Edda is one of the most important pre-christian Scandinavian manuscripts,
holding a wonderful collection of mythological sagas. One of them is of course the
Voluspd which is a foretelling of the fate of the giants, worlds, gods, and men. This
rich allegorization starts with explaining the creation of the cosmos, how a Chaos-
giant starts to procreate and is slaughtered 1 for the gods to

1 Compare to the Babylonian
mythos of Kingu.

"build" the cosmos from his slaughtered remains. It continues

with the glorification of the gods and how they lived rich and

happy, built mighty temples and nice forges, played happy

games in their mighty yards. Everything was perfect untill three thurs-maids, very

powerful, came from the worlds of the giants. From here on the saga changes drastically

and the journey towards Ragna Rok begins.

These three thurs-maids are evidently Gullveig-HeiSr-AurbocJa which is later
called in the same foretelling the thrice burned and the thrice born, something I will
verify throughout this book. Not many have dared to admit this and they have ac-
tually kept their pen in their ink-well on this one, which surprises me as it is a vital
clue in the ON mythology as a whole. I like to understand this as the introduction

GULLVEIGARBOK

*'^ =

>»

of Gullveig in the ON mythology and sagas, an allegorization of the fact that from
the very beginning she planted the seed of destruction into this world. With this ex-
planatory epithet we now have a good understanding of what she really was. This
will be the basis of my research of Gullveigs entity and essence in the
mythological sagas.

^*3

ft*

Jkm of the fact that from
into this worid. With this ex-
hat she really was. This

and essence in

the

"'J

^#;

«,i*

«/>*

*■■»

..:*

- <*

a^f

* *

■£► »;

tf'MB

Gullveigarb6k

THE OLD ONE

One of the primordial determined thurses that survived Odmns tyranny was Gul-
lveig; because her purpose was too important, nothing could really stop her - the
saga about her rime-heart below will confirm why. The cosmic overlords tried, but
the black essence of Gullveig was too powerful; her black rime- cold glacier-made
heart was created from primordial black ice, spewed out from Chaos itself. She is
the feminine representation of the acosmic Chaos - the wrath beyond wraths, the
all-devourer beyond all-devourers; she is the anti-cosmic womb and the cosmic
tomb - which is represented in the O-rune.

She was called by many different names throughout the sagas depending on what
era, what aspect and what shape she took as a shape-shifter. Known names for Gul-
lveig are HeicJr, AurbocJa, Angrboda and Hyrrokin. Proof of the analogies will be
provided throughout this book. As Angrboda she took the eastern parts of Jotun-
heimr, which was called Jamvidr, ironwood, as her province. The sagas depict it as
very dark and atrocious, and as an impenetrable forest. It was there where she

spawned monster and demon hordes; the kin of Fenrir - as it is

said in Voluspd:

1 An interesting detail here is
that EggJ>er sits on a pile as a
guardian and plays on his harp,
and his main purpose is to
guard and wait for Fjalarr;
Surtr 's son, who will come to
Egg]?er as a red rooster. The
gate-guard at Fjalarr's mighty
hall deep in Jotunheimr sits on
a pile and playing on a harp, just
like EggJ>er. Outside the giant-
ess Gerdr s yard, she is Gul-
lveig s daughter, sits a herder on
a haugr too. This analogy be-
tween Egg]?er, Fjalarr and
Gerdr, and Gambanteinn is
most challenging.

2 For more information about
galgvidr see the chapter on
Jarnvidr.

In the east she the old one sat

in Jarnvidr

and there bore

Fenrir's kin.

Inside Jarnvidr it is told that Gullveig lives with the sword
keeper Egg{>er, he is her shepherd (gygjar hirdir). According to
my theory (which I will explain thoroughly later on), he hides
and guards Gambanteinn, the sword of vengeance, for Surtr until
Ragna Rok. As it is told in the beginning of Ragna Rok, Egg{>er
sits on a big pile 1 , assumedly happy from the knowledge of what
is to come, playing on his harp (it is, in my opinion, probably
below this big heap where he keeps Surtr s sword). Veluspd 42
says:

He, the giantess' herder, the happy Eggfrer, sat upon the heap
and played on the harp; above him in galgvidr 2 called a light red

rooster, his name was Fjalarr.

_• _ - 1

It is not much known of EggJ>er, but as his name tells us he probably has just

Gullveig In Aldna

sd Odinn's tyranny was Gul-

stop her - the

.c overlords tried, but

_ . :.rr.i w^ld glacier-made

^haos itself. She is

be " " .". : eyond wraths, the

smic womb and the cosmic

e sending on what

m names for Gul-

of the analogies will be

n parts of Jotun-

: . The sagas depict it as

It was there where she

the kin of Fenrir - as it is

■

one important purpose: to guard the sword of Surtr named Gambanteinn, created
by Loki. EggJ>er, sword keeper or servant; his name derives from the ON egg, the
edge or blade of a sword, and -per derives from the ON pegn, a thane, liegeman or
subject, meaning a servant, which makes me think of Veluspd, where he is called
gygjar hirdir, the giantess' herdsman; hirdir as in hird, a king's or earl's body-guard,
the king's men. This could mean that Eggf>er was supposed to be the giantess' herds-
man who was taking care of her monster-herd and at the same time, being her ser-
vant, he was keeping or guarding a sword. The sword is also mentioned in the above
mentioned stanza from Voluspd where it is said the Surtr's son Suttung-Fjalarr will
come as a red rooster and visit EggJ>er to collect the sword. And you can compare
the name Egg{>er to the name of Beowulf s father EcgJ>eow, which most likely is an
Anglo-Saxon version of EggJ>er: OE ecg, ON egg, edge or sword-blade, and OE peow,
ON pegn, thane, subject or servant.

Gullveig; the descendant of the rime-powers - Loki's female counterpart and
ally - is as beautiful as her true husband Loki and her daughter GerSr. GercJr was
the daughter of Gullveig- Aurboda and Gfmir: «Gymir hit mafir, en kona hansAu-
rboda. Hon var bergrisa cettar. Dottirpeira er Gerdr, erallra kvinna varfegrst», "A man
was called Gymir, and his spouse Aurboda: she was of the giant-race; their daughter
was Gerdr, who was fairest of all women."

nth the sword
hirdir). According to
lv later on), he hides
seance, for Surtr until
c: Ragna Rok, Egg]?er
the knowledge of what
my opinion, probably
s sword). Veluspd 42

r::per. sat upon the heap
igvidi 2 called a light red
■as Fjalarr.

us he probably has just

Gullveig should be looked upon as a mother-giantess, because she had procreated
most of the hordes of baningar, monsters and wolf-thurses, which will all gather,
fight and triumph on the final day of wrath - Ragna Rok. Her most important rag-
narokian children with Loki are Jormungandr, Fenrir, and Hel. And not only is she
a mother-giantess; under the name Heidr, the shining one, she is the witch-giantess;
the wielder of the blackest seeds; she was the brightness crawling out of the abyss
and taking form, up through endless darkness and slithering through the crusty
bounds of middle earth. Bright as a shadowless light she came; erect like a burning
spine of a wand she stood, and started a journey to the yards of ungovernable and
receptive folk to teach them about the unknown and dark arts of the underworlds
and beyond. She was known as the wicked crone; giantess of the runes and black
magic, and the one who came at midnight up from under earth and walked between
houses to visit seidr- women to teach them of her ways. She is the inventor of black
magic and runes - the craft and cunning to seduce giants, humans and gods to gain
her end. And from her bewitched seat, the seidstdll or rokstoll f she taught this magic,

Gullveigarb6k

which struck as a weapon with confusion, disease and death. She enjoys teaching
the humans of the anti-cosmic runes, and these runes are of rime-thursian black
magic. This is her crone-aspect, which is generously emphasized in the Old Norse
lore. Gullveig-Heidr got some people - some black souls which had managed to
stay receptive to the black and anti-cosmic light - to truly understand her magic
and purpose. This understanding has been called Free Aurbodu, Aurbocfa s Seed -
the carrier of the poison, which is represented with the ♦-rune - one of the runes
particularly sacred to Gullveig:

1 A free translation by the au-
thor, originally written by
Rydberg.

The destructive seeds, which Gullveig in the dawn of time
sowed in the minds of humanity, granting harvests throughout

centuries, and with each century
henceforth richer.'

Gullveig is as intelligent as beautiful - cunning and quick-witted - and she has a
very strong potential in foreseeing spiteful moves in her sinister way of thinking.
This weighs heavy for me as I think Gullveig is thought of to be the seeress who
foretells the Voluspd. As a female counterpart of Loki, she made sly plans from the
beginning of the creation of the cosmos and follows them to the end. She brought
darkness from the very depths of the dungeons of Niflheimr, to the brightest garden
of Asgaror. This skilled cunning is only wielded by her and Loki of all the powers in
existence. So it was not an accidental occurrence that Gullveig first got accepted
and was very popular with the cesir - just like her masculine counterpart, and it took
a very long time and a large amount of effort before the cesir became aware of her
hate and destructive intentions. In fact, they uncovered her intentions when it was
too late, when she had already wielded her pestilent magic for centuries and sown
more anti-cosmic seeds than there are stars in the sky. She had spawned legions of
horrible monsters, strengthened her powers in black anti-cosmic seidr, killed many
gods and men, and evoked relentless dark powers from within her own darkness
and abysmal essence. She has turned so many men, sung endlessly black galdrs, and
hailed the current of Chaos for so long that the cosmic doom is inevitable.

It was already too late when the cesir understood that Gullveig, under the name
of AurboSa, had worked as Frigg s maidservant and got Freyja s confidence by trick-
ery, and with malicious craftiness got Freyja to use black seidr. Furthermore, since
Freyja is the goddess of fertility and was worshipped richly over Scandinavia, one
easily understands the devastating consequences Gullveig had in mind. As the cesir
understood the terrible outcome this black witchcraft would have if it spread and

She enjoys teaching
of rime-thursian black
in the Old Norse

:ch had managed to
understand her magic
odu. Anrboda's Seed -
.:\-- ^,ne of the runes

in tf»e dawn of time
ests throughout

rwitted - and she has a
-ter way of thinking.

to be the seeress who
made sly plans from the
: : :~ r end. She brought

to the brightest garden

oki of all die powers in
t GuDveig first got accepted
co un t e rpart, and it took
became aware of her

ntentions when it was
for centuries and sown
had spawned legions of
:-::.. : -eidr, killed many

::.::. her own darkness

: £ r i - ^ . black galdrs, and
: doom is inevitable.

at Gullveig, under the name
is confidence by trick-
ick seiox. Furthermore, since
r.zrl'.- over Scandinavia, one
'•z.z had in mind. As the cesir
t would have if it spread and

«rrftfS?."\-

>:■.

':■' ■' "■'■ "••'': '. "-■ ..•*/;

*<.

GULLVEIGARBOK

■MHM

Poison.

circulated, they panicked. They seized her, tortured her by thrusting their spears
into her body, and held her with their spears over a bonfire and burned her to death
in the shimmering halls of Asgardt; instantaneously and without trial. This relentless
action by the dsir would have a major impact on the god s and vanir's alliance later
in the sagas as Gullveig had influenced the vanir to follow her and not the gods.

As self-sacrifice is Gullveig s biggest virtue, I am sure this was according to her
plans. Furthermore, as Gullveig is of Ymir s primordial rime-thurs family
(Bergelmir s grandchildren's blood, the younger thursian dynasty), it was impossible
for the aesir to burn her rime-heart with cosmic flames - where her grim soul laid
hidden. As they burned her in a bonfire, her rime-heart would not burn, it was only
half singed by the cosmic flames. For her heart is as cold as the primordial ice that
made "ftnir: the source of Hvergelmir's Venomous Waters - the eitr 1 . The cosmic
flames are impure and could only burn Gullveig s/orm and not her essence. There-
fore her spirit or essence survived and was reborn into the worlds; in the sagas
this is allegorized as her heart was only half-burnt - the heart of primeval cold. This
is how she got the epithet Hyrrokin, "the flame smoked", meaning that the divine
flames were impure by smoke; too impure to incinerate Gullveig s essence. The
smoke has been compared with fog and thereby link Gullveig with this myth to her
"place of birth" in Niflheimr. She is also known as ursvol and ursvolgymis velva,
Gymir s primevally cold witch. Three times she got burned with impure flames,
three times she was reborn.

After Gullveig, the origin of the evil runes and witchcraft, got executed and burnt
by I>6rr and the cesir, Loki looked in the ashes for her half burnt heart - as he knew
of her plans - found it and devoured it. After a time, he gave birth to her infamous
children. Many of their siblings are called Baningar: The plague-bringers, or The de-
structors. In the beginning of Ragna Rok hordes of Baningar, such as thurs-wolves
and werewolves - Gullveig's and EggJ>er's monster-herds - storm out from Jarnvidr
in the east in order to destroy the world. Loki in thurs-wrath led the vast army of
the monster-herds from Jarnvidr - evil beings of sundry kinds - as Loki has the con-
stant and triumphant place as their faithful spearhead.

GULLVEIG'S MISINT

The misinterpretation of G
ern ON literature, and it

: who make this fai
. : cans. But what >urp rises
thors also follow this care]
in this mythological literati
For instance, the Americai
Germanic Languages an .
author of the best- * r '.
though I personair. think ti
kal Papyrus of Aborts, whi
Heidr is Previa in his best-^

This Thrice-bom* vck
beca m e 6dhinn*s teacher i

Earlier in the same

Too many modem
e ~eess
to ignore or to forget the
by our a~

Well that is exactly
He might be well-rea

claims this to be certa

_ " *~ ^Txdd the

Gullveig In Aldna

thrusting their spears

m - burned her to death

: tnaL This relentless

and vanir's alliance later

ber and not the gods.

according to her
rime-thurs family
'. it was impossible
her grim soul laid
nc : burn, it was only
the primordial ice that
— the eit r . The cosmic
her essence. There-
rids; in the sagas
&f primeval cold. This
=: that the divine
Ote ": _. . eig s essence. The
ruZ-. z . ^ ■ - - this myth to her
rs»w/ and ir I gymis volva,
•vith impure flames,

:.-

v : : executed and burnt

—

: heart - as he knew

* p . r n'r. to her infamous

Ugue-b r :ngers, or The de-

-"_.-. j _ - _ ; - as thurs- wolves

ik - stonr. out from Jarnvidr

ed the vast army of

•■ - as Loki has the con-

GULLVEIG'S MISINTERPRETATION AS FREYA

The misinterpretation of Gullveig as Freyja is a very common phenomenon in mod-
ern ON literature, and it is as false as it is irritating and disgraceful. Most of the peo-
ple who make this false assumption are the magi of the white-magic: odinists and
wiccans. But what surprises me the most is the fact that respected and successful au-
thors also follow this careless hypothesis, people who should have been well-read
in this mythological literature and well-experienced in the Old ways of Norse magic.
For instance, the American Stephen Edred Flowers (he has received a doctorate in
Germanic Languages and Medieval Studies from the University of Texas, and he is
author of the best-seller books Futhark: A handbook of rune magic and Runelore -
though I personally think that his best book is Hermetic Magic: The Postmodern Mag-
ical Papyrus ofAbaris, which is not even a book on Old Norse belief) claims that
Heior is Freyja in his best-seller book Runelore - he says (I quote):

This "thrice-born" volva (seeress) is certainly Freyja, and it is in this form that she
became 6dhinn's teacher in the ways of seidhr.

Earlier in the same book in chapter 6 he says:

Too many modern rune-magic schools have been forced, either by their ignorance
of the timeless traditions or by their inability to gain access to the traditional mysteries,
to ignore or to forget the true runic sources handed down to us in lapidary splendor
by our ancestors.

Well, that is exactly what he has done himself with the understanding of Gullveig.
He might be well-read, but I ask myself whether he has the understanding in the
ON mythology that he should. It is obvious that this is what he wants her to be, and
just claims this to be certain. Additionally, earlier in the same paragraph he says:

The /Es\r tried to kill her by piercing her with spears and
burning her. But each time she was reborn. The third time she
transformed herself from Gullveig into Heidh (the Shining One).

1 Is Flowers saying here that
Freyja taught herself black
magic?

First, why would the cesir want to kill the supposed Freyja?
And secondly, if Gullveig became Freyja after the burning, I wonder why this would
happen. Freyja already existed when Gullveig was burned. This can be seen as Gul-
lveig, in a disguised appearance and under the name Aurbocia - Gymir s wife and
GercJr s mother -, infiltrated her way into Folkvangr as Freyja s maid and got Freyja
into black magic 1 , before Gullveig was caught and burned. It is told in Fjelsvinnsmdl

GULLVEIGARBOK

that one of the maids of Menglod-Freyja is Aurbocia. So, did he mean that Gullveig s
essence just gave up and entered the already existing goddess Freyja?

Strom traces a similarity between Freyja and Gullveig in the myths of the Vanir-
wars as "one skillful in sejd" and the origin of the first war of people in the world. He
speaks very vaguely of this and I'm not even sure he tries to compare them as one.

John Lindow makes a weak attempt to compare Gullveig with Freyja in his book
Norse Mythology:

Since Ynglinga saga says that Freyja first brought seid to the ^sir, it is not impos-
sible that Gullveig is Freyja, and that she brought seid to the>Csir in the first instance
either as a strategy in the war, or that her bringing of seid started the war. Beyond
this, many fanciful attempts have been made to interpret Gullveig, some based on a
literal understanding of her name as "gold-drink".

This is a prime example of how poorly people study Gullveig and instead just
guess. It is obvious here where the gold-idea comes from; it is Freyjas gold-thirst
that has been transmitted to Gullveig through misinterpretations. And because peo-
ple just have been taken for granted that Gullveig's name has something to do with
gold (as in gull-), they just restricted themselves to this hypothesis.

Margaret Clunies Ross and many other researchers follow the same line of the-
ories as Strom. You kind of get the feeling that there is a fixed theory that no re-
searcher dares to cross to keep their academic dignity.

1 Freyr owned Gerdr, she was
the daughter of Gymir and Au-
rboda, and of giant-race.

Kaldera claims to have consulted with both Aurbocia and An-
grboda and unraveled the whole misunderstanding. Suppos-
edly, they told him that they are not the same gigantess, and
that Aurbocia was just Freyja s messenger, but in Vanaheimr not
in AsgarSr (no comment!).

This is what the Old sagas tell us about Gullveig-Heidr-AurbocJa-Angrboda-
Hyrrokin, as it is said in Veluspa In Skamma 2:

Freyr atti Gerdi, hon var Gymis dottir, jotna asttar, ok Aurbodu. 1

Freyr married the giantess Gerdr, daughter of Gymir and Aurbocia, in exchange
for his sword (Gambanteinn) amongst other things. (Gymir and Aurboda are sup-

>edh parents to die cruel i
vmir and Aurboda in tfc
command in Jamvidc This
tftv as Angrboda. Aurboda ^
; mis . .v. .: Gym~r - ;' -- : : :
the myth about Gulhneii.
primeval cold, referring to Gi
burn because of its blood an

lorir bjorn, par er bam fcre
which say mat Gymir s prim

H -vkm, who *pus
^r - - representee _ _ ::r:
- zuntess otihe

-i it

cast can only be linke .

And like (he

die walls of.

-r

got Freyja into maKt

lighter i> Gall

attack on

•:.

; i .;_--; i: ~_^d W

Z£

Gullveig In Aldna

, Sd he mean that Gullveig s
reyia?

1 i

j myths of the Vanir-
:. in the world. He
~ . are them as one.

L- Freyia in his book

I ID re -£s
jJtveaa.

it is not impos-
e first instance
e -ar. Beyond
~~e based on a

hreig and instead just

Lf 3 :-- as gold-thirst
bus. And because peo-
- : — - enmg to do with

: r. e same line of the-

- ' . - - : eorv that no re-

: •_- _V_boda and An-
ding. Suppos-
*i— e gigantess, and
but in \anaheimr not

fcidr-Aurboda-Angrboda-

posedly parents to the cruel dog-headed giant Beli). The sword was handed over to
Gymir and Aurboda in the sagas, and all of a sudden it was kept under Angrboda's
command in Jarnvior. This shows strong arguments that Aurboda has the same iden-
tity as Angrboda. Aurboda was known to wield black magic and was called ursvol
gymis volva, Gymir s ever-cold witchwoman, in the Prose Edda, and this links her to
the myth about Gullveig-Angrboda-Heidr too - the ever cold one or the one of
primeval cold, referring to Gullveig-AngrbocJa-Heior s rime-thurs heart that will not
burn because of its blood and essence of primeval ice: eitr - Hrimpurs origin. Some-
thing equally important from the same paragraph as tirsvol gymis volva are the words:
«forir bjbrn, par er bdra brestr, undinna festa, opt i cegis kjopta ursvol gymis volva»,
which say that Gymir s primevally cold witch often conveys ships in wild waves, this
wind- or stormmg-aspect links her strongly with Gullveig- Angrboda-HeioVs other
identity Hyrrokin, who "pushed" out Baldr s ship out to sea as a favor to the gods.
She is represented as a storm-giantess in some myths, in Ynglinga saga for example
- giantess of the eastern storms. Why Aurboda got represented as something from
the east can only be linked to the Jarnvidr and AngrboSa in the underworld, which
are repeatedly explained to be located in the east - as it is said in Voluspd:

Austr sat in aldna f Jarnvidi ok faeddi t>ar Fenris kindir. 1

1 In the east sat the Old One in
the Ironwood and gave birth to
Fenrir s children.

And like (her true husband) Loki, she made her way into
the walls of Asgardr, where giants are strictly forbidden, and
got Freyja into malicious activities. It is told in Vblsunga saga
that Hrimnir s daughter comes to AsgarSr as a gift, and
Hrimnir s daughter is Gullveig-Angrbo5a-Hei3r, as stated in
Veluspd In Skamma.

Maybe the whole misunderstanding of Gullveig being Freyja derives from Loki s
spiteful attack on Freyja in Lokasenna:

Be quiet, Freyja!
You are a witch and full of destruction.

r. ok Aurbodu. 1

As Aurboda taught her black magic, Freyja was a goddess of witchcraft and loved
gold, I guess a lazy mind would just draw parallels from this.

and Aurboda, in exchange
Fmir and Aurboda are sup-

Simek suggests that Aurboda has similarities with the chthonic beings. Rydberg
has proven that Aurboda is Gullveig-Heidr-Angrboda-Hyrrokin, and I think I just
did too.

GullveigarbOk

Lastly I want to bring up known recorded kennings in the Old Icelandic sagas
for gold and Freyja, to show that there are no whatsoever insinuations that Gullveig
would be Freyja. Snorri s Edda has a great collection of sundry kennings and I be-
lieve this is the best source. Below you find a nearly complete collection of gold and
Freyja kennings, taken from Skdldskaparmdl, Snorra Edda:

40. GULLSKENNINGAR

Hvernig skal kenna gull? Sva, at
kalla {>at eld Mgis ok barr Glasis,
haddr Sifjar, hofudband Fullu,
gratr Freyju, munntal ok rodd ok
orci jotna, dropa Draupnis ok regn
ec$a skiir Draupnis e<5a augna
Freyju, otrgjold, naudgjald asanna,
sad Fyrisvalla, haugjpak Holga, eldr allra
vatna ok handar, grjot ok sker
eda blik handar.

44. KENNINGAR A GULLI OK
FREYJU

Her heyrir, at gull er kennt til
hdfudbands Fullu, er orti Eyvindr
skaldaspillir:

104.

Fullu skein a folium
falls6l braavallar.
Ullar kjols of allan
aldr Hakunar skaldum.

Gull er kallat gratr Freyju, sem fyrr
er sagt. Sva kvacS Skuli
t>orsteinsson:

105.

Margr of hlaut of morgin
mordelds, J>ar er val felldum,
Freyju tar at fleiri
farbjodr; at J>ar varum.

Ok sem kva<5 Einarr Skulason:

106.

J>ar er Mardallar milli,
meginhurdar, liggr skurda,
Gauts berum galla Jprutinn,
gratr, dalreydar latri.

Ok her hefir Einarr enn kennt sva Freyju

at kalla hana modur

Hnossar eda konu Ods, sva sem

her:

107.

Eigi {jverr fyrir augna
Ods bedvinu RocJa
rsefrs, eignisk sva, regni
ramsvell, konungr elli.

Ok enn sva:

108.

HrocJrbarni kna ek Hornar,

hlutum dyran grip, styra,

brandr {>rymr gjalfrs a grandi

gollvifidu, hlifar;

sacte, berr sinnar modur,

svans unni mer gunnar

fostrgaedandi Fr6da,

Freys nift braa driftir.

2 "

'& hana systur Freys.

nabegt var {?at stall
^ofhrosaek^n
vcrr. tserm bai bona.

HererhonkoHuddbtti
Ok eon Sva:

110.

Gat si er erring

r::~::*:- :r.c: i;

Lictoar, gjodum drinia.

—

koflooGemoi

XX v

nder|

kauail
wr eda

45. GVIX KALLAT M

Gullveig In Aldna

» Oil

in the Old Icelandic sagas
tuations that Gullveig
tdry kennings and I be-
coflection of gold and

a Skulason

e ". r. kennt sva Freyj u

?:>

svasem

fcooanereJlL

ek Hornar,
*an grip, stfrz,
fmr eialfrs a grandi

>-~ -." .it modur,
i mer gunnar
■diFrocJa,
bcaadriftir.

vastrodd en mer baztan
Her getr ok J>ess, at Freyju ma sva kenna Ala undirkulu
at kalla hana systur Freys. Ok enn sva: onidradan Jpridja.

109.

Nyt budumk Njardar dottur,

nalaegt var J>at stali

vel of hrosa ek ]?vi visa

vdrn, saevar bal barni.

Her er hon kollud d6ttir Njardar.
Ok enn Sva:

110.

Gaf ; sa er erring ofrar,
ognpnidr VanabrucJar
J)ing Vafadar J>rongvir
J>r6tt6flga mer dottur;
rikr leiddi mey maekis
matvaldr a bed skaldi
Gefnar, glodum drifna,
Gautreks svana brautar.

Her er hon kollud Gem ok
Vanabrudr. Til allra heita Freyju er
rett at kenna gratinn ok kalla sva
gullit, ok a marga lund er J>essum
kenningum breytt, kallat hagl eda
regn eda el eda dropar eda skurir
eda forsar augna hennar eda kinna
eda hlyra eda bra eda hvarma.

45. GULL KALLAT MAL jOTNA

Her ma f>at heyra, at kallat er ord
eda rodd jotna gullit, sva sem fyrr
er sagt. Sva kvad Bragi skald:

111.

t>ann atta ek vin verstan

Hann kalladi stein vasta undirkulu,
en jotun Ala steinsins, en gull rodd
jotuns.

56. ENN FRA GULLSKEN

NINGUM

I Bjarkarmalum inum fornum eru

told mdrg gullsheiti. Sva segir f>ar:

126.

Gramr inn gjoflasti
gaeddi hird sina
Fenju forverki,
Fafhis Midgardi,
Glasis globarri,
Grana fagrbyrdi,
Draupnis dyrsveita,
duni Grafvitnis.

127.

^tti orr hilmir,
aldir vid t6ku,
Sifjar svardfestum,
svelli dalnaudar,
tregum otrsgjoldum,
tarum Mardallar,
eldi Orunar,
Idja glysmalum.

128.

Gladdi gunnveitir,
gengum fagrbunir,
Ejaza {nngskilum
Jjjodir hermargar,
Rinar raudmalmi,

Gullveigarb6k

rogi Niflunga,
visi inn vigdjarfi.
Vardi hann Baldr ]?eygi.

Gull er kallat i kenningum eldr
handar eda lids eda leggjar, J>vi at
J>at er rautt, en silfr snaer eda svell
eda hela, J)vi at J>at er hvitt. Med
sama haetti skal ok kenna gull eda
silfr til sjods eda diguls eda laudar,
en hvarttveggja silfr ok gull ma
vera grjot handar eda halsgjord nokkurs
J) ess manns, er titt var at
hafa men. Men ok hringar eru
basdi silfr ok gull, ef eigi er annan
veg greint. Sem kvad Eorleikr fagri:

129.

Kastar gramr a glaestar
gegn valstodvar J>egnum,
ungr visi gefr eisu
armleggs, digulfarmi.

Ok sem kvad Einarr skalaglamm:

130.

Lidbrondum kna Lundar

landfaknjofurrgranda.

Hykka ek raesis rekka

Rinar grjot of {>rj6ta.

Sva kvad Einarr Skulason:

131.

Blodeisu liggr baedi
bjargs tveim megin geima
sjods, a ek sokkva stridi,
snaer ok eldr, at maera.
Ok enn sem hann kvad:

132.

Daegr J)rymr hvert, en hjarta
hlyrskildir raedr mildu
Heita blakks, of hvitum
hafleygr digulskafli.
Aldri ma fyr eldi
als hrynbrautar skala,
611 vidr folka fellir
framraedi snae braeda.

Her er gull kallat eldr als
hrynbrautar, en silfr snaer
skalanna. Sva kvad I>6rdr
Maeraskald:

133.

Ser a seima ryri,
sigdis latrs at atti,
hrauns gladsendir handa,
Hermodr fodur godan.

GULLVEIG, THE WOL
ANCESTRESS & FOST

G uiiveig is known thrcughc
that she bred ? ,

of Garmr r Hati and Stall
gates to the imderwodd rast
he savs that i: 3-
Baldr s funeral shir, anc

Just as Lilith, Gulh*
eternally regets demoo-dx
her role in the mythology a
tion and position b
c; nesses:

Oh great Lilith. open your I
entrance to your tangoom
dreams! Mother of al demo
:dess ~a
and let the dark flame of i

Another dark goddess tl
the doe or the wolf eodde

-r

goddess, ruler of die under

. i l :. : -

::::£

are .

invoke the constant fata
baying in the elder <
Vrykolafcas. who mi

Gullveig In Aldna

>&uiason:

~ : z z n geima
stridi,

. hjarta

OuVUllID

rrs ~i

i.i als
snaer

tat am.

idsendir handa,
crcJan.

GULLVEIG! THE WOLVES AND WEREWOLVES'
ANCESTRESS & FOSTERER

Gullveig is known throughout the mythology to be The Wolfs mother. Veluspd says
that she bred Fenrir s progeny in Jarnvidr, and it is believed that she is the mother
of Garmr, Hati and Skoll 1 , too (even if Garmr is spoken of as a dog guarding the
gates to the underworld just like Cerberus). In Snorri s Edda and in his Gylfaginning
he says that at Baldr s funeral the aesir called for Hyrrokin to help them release
Baldr s funeral ship, and she came riding on a wolf 2 .

Just as Lilith, Gullveig has clearly received the role as the demon-mother that
eternally begets demon-children. The dark mother-aspect is an important side of
her role in the mythology and we can tell a lot from it, we can understand her func-
tion and position by comparing her to other dark mother
goddesses:

Oh great Lilith, open your blood filled womb and grant me

entrance to your kingdom of unholy desires and unlawful

dreams! Mother of all demons, proud mistress of Satan, Oh

evil goddess Taninsama, open wide the gates of Gehinnom

and let the dark flame of my demonic Self flourish in the

purifying darkness of Gamaliel! 3

Another dark goddess that is in analogy with Gullveig is
the dog or the wolf goddess, the chthonic and three-fold
goddess, ruler of the underworld hound Cerberus: Hecate.
Many of her mythological qualities correspond with Gul-
lveig: the underworldly connection, the dark demon-
mother aspect (they are connected to both wolfish and
serpent forces) and the crone aspect:

I invoke the constant blood-thirsty wolfpack of Hecate,

whose baying in the elder days drove mankind to insanity! I

invoke Vrykolakas, who with his bloody jaws raised to the

black moon sings hymns in homage to Hecate! I invoke the

undead and the death-bringing! 4

1 Petersen, 1869, Nordisk My-
tobgi. Rydberg, 1 1886, II 1889,
Undersbkningar i Germanisk
Mythologi.

2 Pd var sent I Jotunheima eftir
gygipeirri erHyrrokkin hit, en er
hun kom og reid vargi.

3 & 4 Temple of the Black Light,
2002, Liber Azerate. Freely
translated by the author.

5 *Pat er nu sagt, at Frigg heyrir
been peira ok segir udni, hvers
pau bidja. Hann verdr eigi
orprifrdda ok tekr dskmey sina,
d6tturHr{mnisjotuns». "And so
it is said that 6<5inn hears their
prayer, and Freyja no less hear-
kens with they prayed to her: so
she, never lacking for all good
counsel, calls to her her maid.,
the daughter of Hrimnir the
giant." Vbkunga saga 2.

We can trace evidence that survived the Christian missionaries through the ON
literature, that Gullveig was looked upon as an ancestress and fosterer of werewolves,
and that these werewolves were probably bred in Jarnvidr, which is allegorized with
the wordings dark and deep woods. In Velsunga saga it is told that a giantess who was

Gullveigarb6k

a maid at Frigg s in Asgaror and had been in Miogardr, and who is known as Hrim-
nir s daughter 5 , is getting married to a king in Midgardr and through him being a
mother and grandmother to werewolves, who are running wild in the dark woods
and killing many men. This is evidently Gullveig, and we can notice that she was
seen by the ON people as a mother-giantess of the wolves and werewolves. Were-
wolves have always been a big issue in the Scandinavian folklore and sagas, and had
a huge impact on the people. Even in their magical praxis werewolfism had a role.
Traces of the belief in a spiritual werewolf-metamorphosis can be found in the tales
of the berserks - the warriors that mentally and spiritually invoked the beast within
them and went through a process of werewolf-metamorphosis. In their case, by the
remaining sources, the berserks became bears and were receiving the bears' powers
and strengths. To help this process to take form they wore "shirts" of bear-hide;
hence ber-serkr. If I let my fantasy flow, or rather put myself into their situation, I
would believe that they most likely wore bear-heads as helmet adornments and
bear-paws and claws on their hands; even to carry a dried bear-heart from a bear
they ritually killed in a leather pouch during the transformation; to eat smoked or
dried bear-meat to get poisoned by the bear's wrathful strength; to wear bear-teeth
around their neck to gain the bears powerful jaws, and claws around their wrists to
gain the bears powerful strike - anything to link their spirits to the bear-essence.

GULLVEIG'S BROTHE

Gullveig only has one
Veluspd in skamma where il

So by Voluspa in skar
Hrimnir 1 whom I believe b
I'm right Hrossj>jofr must tfa
into their rime-thursian bio
are children of the ea 4 1
me analogous to I>ra?gelmi
in the Old Norse, this is wfaa
ens Gerdr 2 with baneful wo

Hri

.«.-:- o.

fcr

Howl like Garmr my fair beast, and devour my flesh !

Let your fangs blacken my blood, and your essence touch my spirit!

Fenrir ek kallapik, helulfrinn, kjeptum blodugr skal Ijos Ufa eta!

Lgnmnir-j
Hrimgrininir-I>rudgelni:
Bergelmir who is in his turn
their great grand tamer is
blood-line. That said, Hross
heimr in those rr j
reveals, hrimbunmfu

Saxo had access to a
HrossJ>j6fr {called by fa
and Rind would
Hross J>jofrs

Hross|>joir s name on
old important m
explanations to h_
th vere ma:
mation. Hoi .

Gullveig In Aldna

k. and who is known as Hrim-
jid through him being a
lt_t. «; rild in the dark woods
ad we can notice that she was
. -. - m i werewolves. Were-
uc re lid ore and sagas, and had
praxis werewolfism had a role.
• - : ir. be found in the tales
fcuL r : Icedl the beast within

. In their case, by the
mng the bears' powers
"shirts" of bear-hide;
into their situation, I
helmet adornments and
bear-heart from a bear
ition: to eat smoked or
tgth; to wear bear-teeth
round their wrists to
?t . : > : - me bear-essence.

flesh!
touch my spirit!
skjlljostifaeta!

GULLVEIGS BROTHER HROSS&JOFR

Gullveig only has one known sibling, and the confirmation for that is saved only in
Veluspd in skamma, where it is said:

Heidr and Hross^jofr
the children of Hrimnir.

So by Voluspa in skamma Gullveig-HeicJr and HrossJ>j6fr are children of Hrimnir.
Hrimnir 1 whom I believe is analogous to the primordial rime-thurs Bergelmir. If
I'm right Hross})j6fr must then be a Nifl-dwelling rime-thurs. In fact, a short glimpse
into their rime-thursian blood-line will let us easily see that Heidr and Hross]>j6fr
are children of the earliest rime-thurses in the ON mythology. Hrimgrimnir (for
me analogous to t>rucJgelmir) was viewed as one of the most horrible rime-thurses
in the Old Norse, this is what Skirnismal testifies to in the lines where Skirnir threat-
ens Geror 2 with baneful words:

Hrimgrimnir is the thurs' name,

whom you shall belong to
far down below the corpse-gate.

Hrimgrimnir-Erudgelmir is Ymir s first identified son, and
Hrimgrimnir-]>ru(5gelmir himself is father to Hrimnir-
Bergelmir who is in his turn father to HeicSr and Hrossf>j6fr; so
their great grandfather is Ymir himself - a key rime-thursian
blood-line. That said, HrossJ)jofr is most likely abiding in Nifl-
heimr in those mighty rime-thursian halls that Skirnismal 30
reveals, hrimpursa hollar, by his grandfathers' sides.

1 Hrimnir of Niflheimr has his
counterpart in Muspellzheimr;
Eimnir - the burner, who is
probably Surtr s left hand and
one of the world-destroyers.

2 Gullveig-Heidr s daughter -
Hrimgrimnir-t>rudgelmir is her
great grandfather whom Skirnir
might not realize (or the author
of the sagas missed.)

Saxo had access to a different version of Baldrs Draumar, and he says that it was
Hross{)j6fr (called by him Rostiophus Phinnicus) who let CcJinn know that his son
and Rind would avenge Baldr s death. In the version we know of today it is from
Hrossjjjofr s sister Gullveig who OcJinn gets this information.

HrossJ)jofr s name means horse thief, which is definitely an epithet from some
old important mythological saga; sadly this saga is lost and there are no surviving
explanations to his name. Both Saxo's witness and Hross]}j6fr s name prove that
there were many sagas that have been lost forever containing very important infor-
mation. However, this is all we know of the rime-thurs HrossJ>j6fr.

GULLVEIGARBOK

Jj&frl

Second-born and second burned; her death created Fenrir,

HeicJr - she the shining one, she is the witch-giantess; the wielder of the blackest
seeds; she was the brightness crawling out of the abyss and taking form, up through
endless darkness and slithering through the crusty boundry of the middle earth.
Bright as a shadowless light she came; erect like a burning spine of a wand she stood,
and started a journey to the yards of ungovernable and receptive folk to teach them
about the unknown and black arts of the underworld.

HeiSr is mentioned by name twice in the Scemundar Edda; once in Veluspd and
once in Veluspd in skatnma, and both occasions give key information about her role
in the sagas. Veluspd introduces her (from Codex Regius) :

Heifir her name was,

to houses she came,

the seeress with adequate prophecies.

She wielded witchcraft,

she conjured disease,

she invoked Leikin,

always was she loved

by wicked women.

■1
-

Heidr

tennr.

J*e wielder of the blackest

: Caking form, up through

r ; _r. Lr: of the middle earth.

r_r si r : -: of a wand she stood,

nd receptive folk to teach them

j - - - .: once in Veluspd and
lu rbrmation about her role

This stanza gives her the role as the crone in the ON mythology and the fact that
the saga says "always was she loved by wicked women", <«z var hon angan illrar
brudar» (the ON word illr means evil and wicked), shows us that Heidr turns to
"wicked women" to teach her craft. By this detail we can assure that Heidr is neither
a seeress from the desir- nor the vamr-races, as they promote the humankind to flour-
ish, and the thursian race aims to dissolve them. Evil seeks evil and in this case that
is exactly what the authors of Veluspd are saying. So according to Veluspd, Heidr was
the sorceress teaching the humans the evil craft, she was the giantess-sorceress who
strode around in Miogardr, the middle world, to spread her seeds of underworldly
powers, planting the capsules of dissolution in the depth of the human spirits. It is
said that she came as three in the dawn of time, powerful out
of Jotunheimr as a giantess. These three - powerful giantesses
- were; Gullveig who was the underworldly mother, Heidr
who pervaded Midgardr, and Aurboda who infiltrated As-
gardr - «unzprjdr kvdmu pursa meyjar dmdtkar mjok orjo-
tunheimwn 1 », "until three thursian giantesses came, very
mighty, from the worlds of the giants."

Veluspd in skamma is a very important text because it gives
us good access to the thursian genealogy. And about Heidr it
says:

Heidr and Hross|Dj6fr
are Hrfmnir's children.

1 Jotunheimar, note plural.

2 Rydberg, 1 1886, II 1889, Un-
dersokningar I Germanisk
Mythologi.

3 Ymir's two first children were
actually a man and a woman,
but there is no more informa-
tion on this subject other than
that they were just a man and a
woman - madr ok kona. My
own hypothesis is that it was
Loki and Gullveig; the first-
born. As Heidr is Gullveig s sec-
ond appearance after the first
burning and Bergelmir her fa-
ther, it seems logic that Gullveig
as her first appearance would
have been born earlier, and that
Ymir would be the only one to
be her father, as I^udgelmir did
not have a daughter.

According to Skirnismdl, Hrimnir is a three-headed rime-
thurs who dwells in Niflheimr beyond the underworld by
Hrimgrimnir s side; Hrimgrimnir is the six-headed rime-
thurs born in Chaos as a son of Ymir-Aurgelmir. Rydberg pro-
poses a theory that Hrimgrimnir is the same thurs as
I>radgelmir and Hrimnir Bergelmir 2 . This would mean that
1) Aurgelmir-Ymir is the first thurs that came out of Ginnungagap, 2) Prudgelmir-
Hrimgrimnir was the first identified son of Ymir, and 3) Bergelmir-Hrimnir was the
son of Prudgelmir-Hrimgrimnir 3 . He compares Hrimgrimnir s rank with Odinn s,
as Odinn also has the epithet Grimnir which names him as the asir s clan-leader.
He suggests that it is the same with Hrimgrimnir, and the prefix hrim is added to
his name to state what race he rules over. Rydberg also states that Ymir can't be the
sole ruler of the thurs-race, as he created other races too. That s why Prudgelmir-
Hrimgrimnir would be better fitting having that status. Another connection be-

Gullveigarb6k

This proves that Heidr is a rime-giantess; a hrimpurs, and that she is created by
powers connected to the primordial thurs-power Aurgelmir: she is certainly the
daughter of Bergelmir. Her genealogy gives her a very strong connection to the
mightiest powers of all and by this being a direct source to the primordial powers
and knowledge. Furthermore, as she is a crone and a wielder of runes and magic, it
makes her the most powerful thursian giantess who has revealed herself out of Jo-
tunheimr s black gaping chasm.

Heidr appears in the Velsunga saga under the name Hljod, Hrimnir s daughter;
there we find fragments of Old Norse mythos of giants finding a way into Asgardr
without being detected - as a matter of fact it was Odinn who had invited Heidr
into Asgardr as an oskmey (wishing-maid), obviously unknowing what she was. Vel-
sunga saga is about a king and a queen that had no luck in having children, so they
called for the gods to help them. Frigg answered their call by sending Hrimnir s
daughter in a crow s appearance carrying an apple for them. Of course, after the
queen had eaten the apple she had a child. Heidr has here been working for Frigg
as a maid in a fertility errand. Hrimnir s daughter is the same as Gullveig-Aurboda,

with this magical ap|

_~ 1 ' ::.*,_.. :: ::::.; .:_

tween I>rudgelmir and Hrimgrimnir can be the deformity of several heads that al- t^spd m shunm jdl

legorizes their characters; Erudgelmir, son of Aurgelmir, is explained as having six
heads in Vajprudnismdl 29, 33:

After lots of winters,

before earth was created,

at that time Bergelmir was born;

t>ru6gelmir was his father,

and Aurgelmir his father.

with his (^mir-Aurgelmir's) feet
the wise giant bore
a six-headed son.

Hrimgrimnir is allegorized in Skirnismdl 31 to have three heads, which makes l ^ igfrin in

me think of I>rudgelmir. It is very rare to find a thurs with several heads in the sagas Hoftr-Amboda, a -. inb«

and as these sagas are written in different times there is a possibility that the narra- TWhjftfiH named Geidr

tors mix the number up, as there were no detailed accounts of the mythology and ^ king M dmngr 00 eard

religion back in the time, only oral traditions, and the Scemundar Edda was the first " ' " • 3N

written account what we know of. After my studies in the ON mythology I dare to ~ *e middle world. There

say that Rydberg s theory is most certainly a correct one. m* 90c my attention

Tbe WnijBt sem als

-::-- - zl7'-t

ni\ViH:me

Heidr

nnitv of several heads that al-
:? explained as having six

as Veluspd in skamma 4 tells us; «Heidr ok Hrosspjofr Hrimnis kindar», "Heidr and
Hross{>j6fr are Hrimnir s children", as we already know Heidr and Gullveig are iden-
tified as the same giantess. 1 Why did just Heidr of all maids get the job to fly as a
crow with this magical apple - this metaphorical seed of achievement? Well, it is
pretty logical for the authors to choose the giantess with the might of transformation
and witchcraft to bring out this work; she, Heidr, being here the instrument for a
very powerful magical act, as she is working cunningly for Frigg to convert her into
the blackest of seidr.

■_- : _e heads, which makes
everal heads in the sagas
a possibility that the narra-
nnts of the mythology and
tmundar Edda was the first
NT mythology I dare to

kai

- that she is created by

elmir: she is certainly the

strong connection to the

nee : : the primordial powers

. wielder of runes and magic, it

"r_L> revealed herself out ofjo-

iod, Hrimnir s daughter;

sits finding a way into Asgardr

- who had invited Heidr

nkn owing what she was. V0I-

nck m having children, so they

beir call by sending Hrimnir s

: them. Of course, after the

is here been working for Frigg

die same as Gullveig-Aurboda,

The Velsunga saga also says that Hrimnir s daughter gets
married to a king called Volsungr, and they had ten sons and
one daughter (eleven children). This detail connects Hrim-
nirs daughter in Volsunga saga with Hrimnir s daughter
Heidr-Aurboda, as Aurboda is known to have just one
daughter named Gerdr 2 . Furthermore, as Heidr dwelt with
die king Volsungr on earth for a while it connects her with
Heidr in the ON mythology as the crone who walks around
in the middle world. There is another detail in Volsungs Saga
that got my attention; it is about the werewolf-aspect. For
me it starts in chapter five, where all ten sons of Hrimnir s
daughter Hljod 3 get captured and bound in a battle and their
father Volsungr gets killed. For nine nights, at midnight, a
she-wolf comes and kills and eats all nine brothers and leaves
Sigmundr to live. Now, the line in Icelandic, «niu natr isamt
<om sjd in samaylgr um midn&tti» 4 , gives us much important
magical information concerning black magic and were-
wolfism: nine is a well documented (black) magical ON
number 5 , the ninth rune in the Uj)ark rune-row is the t-rune which represents Ne-
cessity and Will; the essence of magical function. ON poets did not just grab details
like this out of nowhere; numbers especially always had a deep meaning. The night
was given to the troll and giants in ON folklore and mythology, and midnight, as in
:4her traditions around the globe, was a very extraordinary time for dark powers to
ascend from the underworld to enter Midgardr. Werewolves were seen in Old Scan-
dinavia to be troll-like shape-shifters derived from Gullveig s kin; they all were of
giant-breed. A human could possess this ability to shape-shift into a wolf, and this
was metamorphic black magic which belongs to Gullveig and her allies. So in the
line «niu rnetr isamt kom sjd in samaylgr um midn&tti» we learn that the ON people
relieved that werewolf-magic was analogous to the number nine, nocturnal praxis,
and particularly to midnight. Well, the story tells that Hljod s last and eldest son Sig-

1 Volsunga saga 2, and see Un-
dersokningar I Germanisk
Mythologi by Rydberg as a good
reference.

2 Or even compared to Gullveig
who had one daughter (Hel)
and many sons.

3 Hlj6cS in Old Norse can mean
howling, which is a very fitting
name for the mother of wolves
and werewolves, as she can be
looked upon as a pursylgr, a
thursian she-wolf.

4 "Nine nights in a row at mid-
night she came as a female
werewolf."

5 Agrell, 1927, Runornas Talmys-
tik och dessAntika Forebild. Lin-
derholm, 1918, Nordisk Magi.

Gullveigarb6k

mundr killed the she-wolf by pulling out her tongue with his teeth. Later on in chap-
ter eight Sigmundr and his son Sinfjolti were out in the woods to harden Sinfjolti
with manly deeds, which in this saga meant that they went out to kill men and steal
their wealth. One day they found a house with two men in it who each had a golden
ring; these men were shape-shifters and had their wolf-guises hanging on the wall
above their beds. In ON folklore people did not just turn into wolves like in modern
movies, they actually had the wolf-guise as an outfit and "put it on" as they trans-
formed. Anyway, Sigmundr and his son Sinfjolti stole them and became werewolves.
They went out hunting men together and slew them. One time Sinfjolti found
eleven men and slew them by himself. The number eleven turns up several times
when it comes to Volsungr s siblings; a metaphor which I see as a riddle to the eitr-
nexus: the rime-blood. However, my main interest in this saga is that Hljods son
and grandson are werewolves, and she herself is a hrimpurs and her name in this
saga, Hljod, means howling, and even a mysterious she-wolf comes at midnight and
slaughters and eats (!) nine of Hljods younger sons. There is no doubt in my mind
that the author of this saga wanted to tell the reader that Hljod is Gullveig - rime-
giantess and mother of werewolves.

Im&eramjr

Hal,

The small information that Veluspd, Veluspd in skamma, and Skirnismdl give us is
in itself grand, as it proves that a) Heidr is one of the three horrible and powerful
giantesses who comes out of Jotunheimr in the dawn of time, b) she is a seeress and
practices evil witchcraft, c) she turns to wicked folk, and d) Heidr originates from
Niflheimr and she has a rime-thurs as a father, which makes her a rime-thurs herself.
All this connects her strongly with Gullveig and her essential aspects.

Concerning Heidr s name, there is a word with a very interesting meaning that
derives from the ON word heidr with the meaning heath, and it is heidingi (heidinn),
a heathen, and gentile. However, it is also used as a metaphor for a wolf, meaning
someone who lives on heaths and in the wilderness; very much like the ON word
vargr which means the same but more of an outlaw-characteristic. This is interesting
because first ofFGullveig-Heidr is seen as a vargr and all of her children and spouses
the same. As her follower you should live like a heidr or vargr - meaning not sub-
mitting to any law or authority, provoke your spiritual Chaos-fire, and unleash the
wrathful werewolf within your spirit. Compare this to Heidr s name Hljod in Vel-
sunga Saga.

Heidr

the

e -W

teeth. Later on in chap-
woods to harden Sinfjolti
ut to kill men and steal
n it who each had a golden
: ses hanging on the wall
into wolves like in modern
"put it on" as they trans-
and became werewolves.
One time Sinfjolti found
tarns up several times
re as a riddle to the eitr-
saga is that Hljod's son
rs and her name in this
r comes at midnight and
e is no doubt in my mind
Mjod is Gullveig - rime-

I rather am free and alone, than being a slave amongst a mass!

Heil Hrimheidr f freer of my imprisoned spirit!

HeilHeidrj unleasher of my beast!

XXX

and Sktrnismdl give us is

iree horrible and powerful

e b she is a seeress and

i and d I Heidr originates from

makes her a rime-thurs herself.

essential aspects.

interesting meaning that
air. and it is heidingi (heidinn),
metaphor for a wolf, meaning
much like the ON word
laracteristic. This is interesting
aD ofher children and spouses
ir or ittrgr - meaning not sub-
al Chaos-fire, and unleash the
Heidr s name Hljod in Vel-

Gullveigarb6k

tytivboQ

Third-born and third burnt} her death created Hel

The purpose of Gullveig going under the name AurbocJa and being the daughter of
Hrimnir had a very important function, and I shall investigate her every appearance
in the ON mythology under her veil of Aurboda. She is the most mysterious guise
of Gullveig in the mythos, not much is said about her and very few people see a
connection between her and Gullveig in the old sagas - so I present and underline
the nexus here.

Aurboda is only mentioned by name twice in Scemundar Edda, first in Voluspa in
skamma 2 which gives us the important evidence that Aurboda is Gymir s spouse;
this detail will make it much easier to understand her role in the sagas. The second
time she is mentioned is in Fjelsvinnsmdl 38 where she is named as one of Menglod-
Freyjas maids. This is also a very important detail that connects her with HeicJr, for
instance. Importantly though, just because she is so seldom mentioned by name
does not mean that that is the only evidence of her entity in the Scemundar Edda;
but thanks to those two times she is mentioned by name we know the following;
a) she is Gymir s spouse, which most likely means that her abode is in Gymir s and
GercJr s yard in Jotunheimr, this connects her to this place throughout the full body
of the Edda. For example, her presence can be found in the saga called Shirnismdl

without being named in it
name to be a maid at Fi
she dwells at Freyjas
Freyja can only be malij
meyja, vahi mtn vino, H
my friend, Hyndla m
Iveig, and Freyja calk
supposed to be undei

I thought I would
is the mythos of Freyr > bii
Gambanteinn, Surtr
mythos starts in the saga
stood as a tower or thro
Jotunheimr and saw o Q G]
so pale and lovely that it shim
her as he was bewitche
Skirnir to ride to the lands
Stdrnir did so. Gerdr is the
property. When he arrived
and snarling dogs in
and he kept watch I \%iU s
ted to Gerdr's house by
threats to woo her, but sfa
dangerous father and all go
ds. Skirnir then thre
magic 1 , and after
surprising turn
ense; at first she i - so
Sfemir or Freyr have anytl

powers that pu
iaiighter; these two giant
> . rr..r ? previous sp: e ; h
>£Xiur and Freyr. And the
► myth 1 understo
- — .thers :--7:.y^
; . :r.-: - :-T. _- r.ir.

vying th -Ids of
I covment for Gerdr

AURBODA

vUdHel.

reing the daughter of

: e her every appearance

.e most mysterious guise

: very few people see a

- 1 present and underline

wmJiirEdda, first in Veluspa in

oda is Gymir s spouse;

role in die sagas. The second

: is named as one of Menglod-

: nnects her with Heidr, for

■eli Dm mentioned by name

m the Scemundar Edda;

lame we know the following;

it he : abode is in Gymir s and

bee throughout the full body

I in the saga called Skirnismdl

without being named in it because of what I just explained, b) she is mentioned by
name to be a maid at Freyjas, which gives us the knowledge that for a period of time
she dwells at Freyjas, and as the cunning giantess that she is her intentions with
Freyja can only be malignant. Furthermore, in Hyndluljod Freyja says: « Vaki mcer
meyja, vaki min vina, Hyndla systir, er ihelli byr», "Wake up maid of maids, wake up
my friend, Hyndla my sister who lives in the cave." Hyndla is most certainly Gul-
lveig, and Freyja calls Hyndla her maid, her friend, and her sister; I believe this was
supposed to be understood as Aurbodas service as Freyjas maid.

I thought I would start with the dramatic marriage that we find in Skirnismdl It
is the mythos of Freyr s bridal payment of Gerdr and the highly significance of the
Gambanteinn, Surtr s Sword of Revenge. The beginning of the Gambanteinn-
mythos starts in the saga called Skirnismdl where Freyr sits in what can be under-
stood as a tower or throne called the Hlidskjalf, from where he gazed into
Jotunheimr and saw, on Gymir s yard, a very beautiful maid-giantess, whose skin is
so pale and lovely that itshined like the sun) this was Gerdr. He decided that he wanted
her as he was bewitched by her beauty, and ordered his servant and messenger
Skirnir to ride to the lands of the giants to ask for her hand in favor to Freyr, and
Skirnir did so. Gerdr is the daughter of Gymir and Aurboda and she lives on their
property. When he arrived at Gymir and Aurboda s yard he was held back by angry
and snarling dogs in front of Gerdr s house. Outside on a mound sat a herder as well
and he kept watch (I will say more about this detail further down). Skirnir was in-
vited to Gerdr s house by her and he tries with bribes of treasures and gold and
threats to woo her, but she refuses, as with her mighty and
dangerous father and all gold they possess she did not fear his
words. Skirnir then threatens with a magical sword and curs-
ing magic 1 , and after this Gerdr all of a sudden just agrees.
This surprising turn has always troubled me, because it makes
no sense; at first she is so confident, she knows that neither
Skirnir or Freyr have anything to put against the mighty thur-
sian powers that protect Gymir and Aurbodas land and
daughter; these two giants alone are very powerful. Equally, by Gerdr s answers to
Skirnir s previous speech you can tell that she has neither respect nor fear towards
Skirnir and Freyr. And then it struck me; after a deeper analysis of the consequences
of this myth I understood that there was a much deeper end to this odd route; Gerdr
had her mother s cunning and intelligence, and she was most definitly in league with
her mother s genius plans - Gullveig s eminent plans, in conspiracy with Loki, of
destroying the worlds of the dsir. Freyr gives his well-known magical sword as a
bridal payment for Gerdr - the sword that brandishes itself (Skirnismdl S), the sword

1 1 have investigated and written
about these classic stanzas of
Old Norse curses and rune-
magic thoroughly in other texts
dealing with Old Norse witch-
craft, magic and religion.

GULLVEIGARBOK

1 Skirnismdl 32: «Til holts ek
gekk... gambantein at geta, gam-
bantein ek gat», "I went to the
woods... to procure Gamban-
teinn, and Gambanteinn I pro-
cured."

2 V0luspd 52: «Surtrferr sunnan
med sviga leevi, skinn afsverdi sdl
valtiva», "Surtr fares from the
south with the switch bane, and
the warrior s sword shines like
the sun."

3 Myrkvi(Sr is for me equivalent
tojarnvidr.

he later calls by name, Gambanteinn 1 , Surtr s Sword of Revenge
which will finally come back to Surtr - the sword that once be-
long to the cesir 2 - and with which Surtr kills Freyr himself with
during Ragna Rok. Lokasenna 42 explains the bridal payment in
full:

Loki said:

With gold you bought Gymir's daughter

and sold also your sword.

But when the sons of Muspell

will come riding over Myrkvidr 3

what weapon will protect you then, scum?

In plain words, Gerdr got forced to marry Freyr, but referring
to the way GercJr speaks in this epic I have a strong feeling that
she knows about something that doesn't come out in this saga, it would seem that
she just agreed to the marriage because she knew it had a malicious purpose accord-
ing to her mother s plans. Alternatively, maybe when she saw Gambanteinn she
quickly understood that she had to get this sword to her mother (Aurboda-Gul-
lveig) and that is why she changed her mind so abruptedly. Her replies to Skfrnir s
first attempts to bribe her with gold and magical apples were cocky and confident,
and then he threatens to decapitate her with Freyr s sword but yet she responds
cockily to this as well. She has no reason to feel seriously threatened. She is the
daughter of AurbocJa and Gymir, and sister to Beli who is explained to be of a dog-
headed thurs-race (this I find particularly interesting as I connect this weird defor-
mity with Aurboda's skill in transformation and werewolfism).

Moreover, the bridal payment of the sword has devastating consequences for the
asir, and it actually leads to a predestined victory of the thurses in the war against
the dsir and their worlds. But how the sword went from Gymir and AurboSa to An-
grboda and her herder EggJ>er in Jarnvidr is a mystery I will here divulge. It is obvi-
ous to me that Aurboda took the sword to Jarnvidr and to Angrboda; this is in my
opinion a strong ground for understanding that they are the same giantess. The fact
the AurboSa bewitched Freyr to sacrifice his sword is a typical action of Gullveig
and Loki s character. The thing is that there is a big gap here in the sagas, nothing is
told or even close to being revealed about how the sword went from AurboSa s yard
to Angrbodas abode in JarnvicJr. This tells me that it must have been a common fact
how this went down, and all the similarities between these giantesses are strikingly
alike, both being of thurs-blood and married to very powerful and cruel thurses,
and both having children that will have an essential purpose for the development

of the Ragna Rok mythos.
boda in the ON mythology
ing watch, they both are g
and Heicfr were the onr g
gardr, which connects thei
as Gullveig.

In Skirnismdl we fin.
which dwelt in the thursiai
and kept a watch in all c
sitting on watch on a snv
herder) in Veluspd 42:

He, the giantess' herder,
harp; above him ir : =

Gygjar hirdir being An.

name is Eggjper. The latter

- : keeps the Sword : : •

for some mystical reai

a small mound at Aurb

11:

AURBOBA

urtr s Sword of Revenge

- :~ e sword that once be-

Sortr kills Freyr himself with

[plains the bridal payment in

-a lighter

tlfespeJI
perMyrfcvidr 3

< : . :-£- scum?

irrv Freyr, but referring
ic I ha¥« a strong feeling that
:i it would seem that
I * . aous purpose accord-
isfcf saw Gambanteinn she
ir. : trier (AurbocJa-Gul-
Her replies to Skirnir s
cocky and confident,
i but yet she responds
crash' threatened. She is the
o is explained to be of a dog-
b I connect this weird defor-
noffism).

stating consequences for the

rses in the war against

n G :: : : and AurbocJa to An-

-*-C here divulge. It is obvi-
ic Angrboda; this is in my
:- ~z same giantess. The fact

i typical action of Gullveig
:> here in the sagas, nothing is
«d went from Aurboda s yard
ost have been a common fact
bese giantesses are strikingly
powerful and cruel thurses,
purpose for the development

of the Ragna Rok my thos. They are also the only ones with a name ending with -
boda in the ON mythology, they both have a herder sitting on a small mound keep-
ing watch, they both are guarded by dogs/wolves, and last but not least Aurbooa
and Hei<5r were the only giantesses ever that manage to nesde themselves into As-
gardr, which connects them strongly and favors my belief that they all are the same
as Gullveig.

In Skirnismdl we find more interesting details; on Gymir and AurbodVs yard
which dwelt in the thursian abode in the underworld, a herder sat on a small mound
and kept a watch in all directions. This herder reminds me very much of the herder
sitting on watch on a small mound in Jarnvidr called gygjar hirdir (the giantess'
herder) in Veluspd 42:

He, the giantess' herder, the happy Eggber, sat upon the heap and played on the
harp; above him in galgvidr crowed a light red rooster, his name was Fjalarr. 1

Gygjar hirfiir being Angrboda s herder in her abode, his
name is Eggber. The latter being AngrbocJas sword- watcher
who keeps the Sword of Revenge for Surtr till Ragna Rok,
and for some mystical reason the same kind of character sits
on a small mound at Aurbooa s abode in Jotunheimr accord-
ing to Skinismdl 1 1 :

Skirnir rode through Jotunheimr to Gymir's yard. There were

angry and leashed dogs in front of the path to the yard,
where Gerdr dwelt. He rode up to where the herder sat and

spoke to him:
Tell me, herder, who sits on the mound and watches

over all:
How can I meet the young maid without the snarling dogs?

1 See an investigation of gal-
gviSr/gaglvidr further down.

2 Graslund sees this connection
in the history of religions; she
says "in many respects dogs
seem to be representatives of
wolves." Graslund, Wolves, se-
pents, and birds: Their symbolic
meaning in Old Norse belief. In
Andren, Jennbert, Raudvere
(eds), 2006, Old Norse Religion
in Long-Term Perspective.

This in my opinion cannot be a coincidence; it s very strong evidence that Aur-
bocJa and Angrboda are the same. Even AurbocJa s snarling dogs support this theory;
Angrbooa's abode in Jarnvidr is full of furious wolves and werewolves, and Aurbodas
yard is guarded my furious dogs. Dogs and wolves in the Old Norse mythology
could mean the same 2 . For example, it is said that all dogs come from Garmr in
Grimnismdl, en hunda Garmr. This proves not that he is a dog; he could easily have
been a dog or a wolf, as all dogs come from the wolf originally. In Veluspd we can
also read about Garmr:

Gullveigarb6k

Garmr barks greatly

from Gnipahellir;

the shackles shall shatter,

and the wolf shall be free.

This just tells us that Garmr barks greatly and that the wolf shall be freed. I agree
that most likely it aims at Fenrir who is chained down with his father Loki in a cave
until Ragna Rok and that this episode oiVeluspd is referring to the beginning of the
gods' doom. But still it does not say that it is actually Fenrir, it could be Garmr him-
self that will come free, because he is chained down too to the rocks of Gnipahellir
at the gates of Helheimr. My point is, there is a widely spread hypothesis that Garmr
and Fenrir are actually the same, but it is even more likely that Garmr and Hati are
the same, and therefore the difference between a mythological dog and a wolf is
not of great importance.

In the Prose Edda, AurboSa was called ursvolgymis volva, the primevally cold one,
referring to Aurboda-Gullveigs heart that will not burn because of its essence of
primeval ice. It also points to her aspect as a storm- giantess, as she is depicted as
the eastern storms from Jarnvidr (isarnvidr), see Ynglinga saga, this connects her
with Angrboda the Old One:

Austr sat in aldna i Jarnvidi ok faeddi bar Fenris kindir. 1

1 "In the east sat the Old One in
the Ironwood and gave birth to
Fenrir s children."

And as I stated above, more important information is
dwelling in the same paragraph as Ursvolgymis volva: it is «forir
bjorn,par er bdra brestr, undinnafesta, opt i cegis kjopta ursvolgymis
volva», Gymir s primevally cold witch often conveys ships in
wild waves. This wind- or storming-aspect links Aurbocfa with
the mythos of Hyrrokin; who pushed or blew Baldr s funeral ship out to sea as a favor
to the gods for example. In my opinion, all that has been discussed in the previous
pages proves why the storm-giantess Aurboda was in fact the spouse of the storm-
giant Gymir.

— — ■*^

-_-,

.--

Angrboda

wolf shall be freed. I agree
r - father Loki in a cave
ning to the beginning of the
^K it could be Garmr him-
d to the rocks of Gnipahellir
pcead hypothesis that Garmr
iut G^rmr and Hati are
dog and a wolf is

imevally cold one,
ccaose of its essence of
as she is depicted as
this connects her

tondir.

iportant information is
. C '■■■' voiva: it is «prir
xgis kjopta ursvol gymis
b often conveys ships in
7 , ;: links Aurboda with

ship out to sea as a favor

ed in the previous
the spouse of the storm-

QnybftA

Austr sat in aldna

i JarnvicH

ok fceddi J)ar

Fenris kindir

- Veluspd

Angrboda is probably her most known name as the V0lva, crone -and mother- gi-
antess in the dark woods called JarnvicJr; she is well-known as the shadow-draped
giantess, gygr, that comes with anger and hate towards the cosmos, the gods, and
mankind. Angrboda is her infamous and antagonistic name as by now every living
soul in the cosmos knows about her being the terrible witch-giantess who has only
malignant intentions towards the worlds; She the Old One - In Aldna - AngrboSa.
This is after her terrible manifestations as Gullveig-Heiclr-AurbocJa have been roving
around in the worlds and wielding death and destruction to its very extent, and
been caught and killed by the rfss-powers. However, this threefold execution did
not stop her from coming back as a witch-giantess; as we all know by now you don't
really die in the Old Norse mythology, you kind of die out of the world in which
you were presently living, and get sent to the world below. You can even die out of
Helheimr, which means that you are sent down to the horrible world Niflheimr,
which lies beyond the underworld.

GULLVEIGARBOK

So she came back a final time; in a final manifestation, as the notorious thursian
giantess Angrboda. As she was done with her workings amongst the dsir in the heav-
ens, she stayed in the underworld from then on as Angrbocia - together with her
mighty daughter Hel - and made preparations for the final infamous battle known
as Ragna Rok. However, she still reached happily for receptive and wicked humans
to teach them her proud craft and make alliances. Because her work is far from over:
she wields the ferocious blackest magic from her black witch-seat within the abysmal
jaws ofjarnvidr. Dark-red blood pours from her body under her black robe of dark-
ness from freshly killed gods and men - blood that spatters on her surroundings
when she moves her immense body and her long black icicled hair sways vehe-
mently around the worlds - like a giant oak in a storm. She is the hating crone -
wielding her anti-cosmic staff and singing wrathful runes; untying primordial knots
on the giant roots of Heldrasill to unleash Chaos' relentless curses. She is the Old
one, older than age and creation - angrboda in aldna. She is the wise one, wiser than
the wells and the worlds - angrboda in vitra. When Angrbodas essence intruded the
cosmic boundaries and got mixed with its structural flow she immediately adapted
and took "form" her essence struggled between lawlessness and manifestation, be-
tween freedom and framework. As she is a metamorphic thurs-essence, static form
is absolutely unnatural for her and she cannot adjust to uniformity. So cosmic de-
formities is in her character and everything she touches and procreates becomes
deformed and metamorphic; this is where she becomes the mother of werewolves
and horrible monster-hordes in her blackest forest deep within Jotunheimr, in the
east.

1 Loki calls it Myrkvidr in
Lokasenna, Stetnundar Edda.

Angrboda is her name during her habitation in JarnvicJr - as
the Jarngygr, the giantess-ruler of this Ironwood also known
zsMyrkvidr 1 .

As the mighty thurs-ruler of JarnvicJr and the mother of all troll-like deformed
metamorphic monsters; she is proven to be the same as Gullveig. The sagas tell us
about this in for example the Veluspd in skamma, which says:

Loki gave birth to the Wolf

with Angrboda

and Sieipnir

with Svadilfari.

Amongst them all one crone

seemed worst,

she from Byleistr's

brother came.

■ i- the notorious thursian
^rr : ' me (km in the heav-
igrboda - together with her
il infamous battle known
B and wicked humans
•s oik is far from over:
at within the abysmal
: : r x : rlack robe of dark-
= r? :r. her surroundings
.;.:.. : hair sways vehe-
? the hating crone -

■■ ^

She is the Old
£ e one, wiser than

. ^ence intruded the
immediately adapted
od manifestation, be-
> -essence, static form

— itv So cosmic de-

p recreates becomes
" " _ tner of werewolves
within Jiitunheimr, in the

tanon in Jarnvidr - as
Ironwood also known

. troll-like deformed
as G _ jveig. The sagas tell us

GullveigarbCk

Loki ate a heart;

on the burnt linden

he found half-burnt

a heart of a woman.

Loptr became pregnant

by the evil woman;

from this have all

troll come.

This excerpt is pretty much self-explanatory and shows that Angrboda is Gullveig.
She was also looked upon as an evil woman (illr kona), and the mother of all troll
(Jlagd) - troll which is the Old Norse term for malignant and bestial demons, viewed
upon as a giant-kin, which are often dwellers of the forests, mountains and the un-
derground. Troll being mythological offspring from Gullveig can be traced in the
myths where the troll repeatedly shift shapes from deformed giants to human-look-
ing individuals; they mimic the human appearance so they can get close to them to
abduct them for different reasons. A common myth is that the troll shift shape into
a beautiful young woman, half naked, to entice lumberjacks to follow them into the
shadows. In Scandinavia this is common knowledge in its folklore. So the meta-
morphic nature of troll links them to their mythological source.

In Voluspa it is explained how "she the old one" sits in JarnvicJr and bears Fenrir s
kin (Fenris kindir) :

n the east she the old one sat

in Jarnvidr

and there bore

Fenrir's kin.

The relatively odd episode that Angrboda is judged to be killed by the dsir and
unsuccessfully burnt in the halls of Asgardr is a strong analogy between Angrboda
and Gullveig, and it is unavoidable evidence that the myths are the same, and that
Angrbocia and Gullveig are the same giantesses. In HelgakviSa Hundingsbana I we
also find evidence of Angrboda s analogy to Gullveig. In an argument between Sin-
fjotli and Gudmundr, Sinfjotli says:

And Gudmnikdr s

withe

irds tht

— ~* '■'

ea£- In,

»■.

h*s?. -

You were a V0lva

on Varinsey,

a cunning woman,

you lied.

: 7 THE AX

Angrboda

* * #

Angrboda is Gullveig.
and the mother of all troll
t and bestial demons, viewed
mountains and the un-
can be traced in the
1 giants to human-look-
can get close to them to
the troll shift shape into
to follow them into the
^L its folklore. So the rneta-
;e.

mividr and bears Fenrir s

I - i : . re killed by the dsir and
;y between Angrboda

K - - are the same, and that
«:: ida Hundingsbana I we
n argument between Sin-

you were, a hateful

witch, a valkyria,

spiteful, awful

at 6dinn's.

The Einherjar fought

everybody

for you,

disgraceful woman,

(they did it) for your sake.

Nine we
at Sagu's point
wolves bore,
was their father.

And Gudmundr s answer to this starts with: "Father to Fenrir-wolves you were
not." This little extract from this saga tells us a lot. The cunning, hateful, and spiteful
velva and mother to wolves must be Gullveig, as the author gives example of a witch
that had been acting awful at Odinns hall. And that Einherjar, the vanir, have been
fighting for her; for her cause - this cannot be anything else then the battle between
the dsir and the vanir, called the first folk- war, after the killing
of Gullveig in Asgardr, because this is the only battle that had
taken place between them. That battle was about the vanir s
non-tolerance towards the dsir s act of punishment and the
killing of Gullveig without trial: so the vanir fought for Gul-
lveig. In another saga it is said that Hrimnir's daughter had
stayed at Varinsey for a time and pro -created werewolves - as
we know, Hrimnir s daughter is Heior (Gullveig- Angrbooa). And if this was not
enough, Gudmundr s answer proves undoubtedly that it is Angrboda they are talk-
ing about - as we know that Angrbooa is Fenrir s mother, and that she mothers his
kin in the depths of Jarnvidr - «austr sat in aldna i Jdrnvidi okfceddipar Fenris
kindir» l (Veluspd 40). Angrboda is the mother of the Fenrir-wolf family, which ac-
cording to my studies and conclusions includes Garmr, Hrodvitnir, Hati and Skoll.

1 "In the east sat the Old One in
the Ironwood and gave birth to
Fenrir's children."

2 Snorra Edda, Najnapulur 42.

3 Skirnismdl.

KEEPER OF THE ANTI-COSMIC SWORD OF VENGEANCE
AND EGGH&R

In the ON mythology, Angrboda in Jarnvidr is also the keeper of the anti-cosmic
sword of vengeance, made by Loki and perfected by ]>jazi for Surtr. Fjalarr, the son

GULLVEIGARBOK

of Surtr, will come as a red rooster and pick up the sword of vengeance called by
many names: gambanteinn, hcevateinn, homateinn, mistilteinn 2 , tamsteinn, and
tamsvendP. He will come on his fathers orders right before the final battle - the day
of wrath - Ragna Rok. Fjalarr is a Muspell-son, a blazing fire-thurs who will also
come as devastating wild-fire; thus his kenning "the red rooster."

le use of a doul

-? :r_-< mt

Hyrrokin

aid of vengeance called by

nn- t tamsteinn, and

r - " .■ ri. : e final battle - the day
.__ . _ j ^.tjjuis w ho will also

red rooster."'

v Jj3>M0k>H

Hyrrokin, "the flame smoked'* - the name is created from the Old Norse words
kyrr, fire, and rjuka, smoke, which is the accurate one in my book; an epithet taken
from the Gullveig-mythos where she is being held over the ^sir-gods' unclean and
smoky fires. There is also an alternative spelling, Hyrrokkin.
However, the use of a double "k" is erroneous if you base the
name on the word rjuka 1 .

There is only one saga about Hyrrokin that has survived
and it is about her appearance during Baldr s funeral; the
original saga is from an anthology called Hiisdrdpa by tJlfr
Uggason. The interesting part is that the Hwsdrapa-sagas were
written down as interpretations of sculptures or illustrations
carved into wood in a mighty hall; the Laxdcda saga tells us
that a new grand hall was built and all of its interior embel-
lished with illustrations of ON mythological sagas and leg-
ends. Ulfr Uggason was the poet who got the job of putting these illustrations into
.fords as poems. This actually explains Husdrdpa's ocassionally confusing sections,
and it definitely explains Snorris puzzling depiction in his account of the Baldr s

1 See under rjtika in An Ice-
landic-English Dictionary by
Cleasby and Vigfusson 1874,
and Heggstad, Hodnebo,
Simensen, 2008, Norren Ord-
bok. Also Bugge, 1881-89,
Studier over de Nordiske Gude-
og Heltesagns Oprindelse I, p.
221, footnote 4. And Rydberg,
1889, Undersokningar i Ger-
manisk Mythologi II.

GullveigarbOk

Funeral mythos - because it is obvious that Snorri has taken his mythos about
Baldr s Funeral from the Hiisdrdpa-s&ga. You can actually tell from his account of
the Baldr-funeral that Snorri tries to depict something he doesn't really understand;
thus its confusion. Ironically the most detailed account of this saga is the one in
Snorri s Gylfaginning.

Loki and Gullveig were the brains behind the murder of Baldr - which I will dis-
close in detail later in this book - and both Loki and Gullveig had to attend his fu-
neral as a sign of power, and to make sure that Baldr descended into Helheimr,
according to their plot. Gullveig arrives as Hyrrokin and Loki is spying in the shape
of a salmon, ON litr, swimming in the waters around Baldr s funeral ship. However,
t>6rr recognizes him and kicks Loki into the funeral pyre - which I see from Snorri s
description as a metaphor of I>6rr spotting Loki by recognizing his pseudo-shape
as a salmon, (this would be the second time in the myths that P6rr catches Loki as
a salmon), and strips off the pseudo-shape of Loki and turns him back into his reg-
ular fiery shape (or it might even have been a self-explanatory allegorization that
he kicks him back into Muspellzheimr, from whence Loki came.)

Snorri tells us that when the gods had the funeral for Baldr they placed his body
in his ship Hringhorni, which was a mighty vessel, and when they were about to
put it to sea with a funeral pyre they could not move the ship, it was simply too
heavy. So the gods called for Hyrrokin from Jotunheimr to help them put the ship
into the water. She came riding on a giant wolf with snakes as reins, and the wolf
was so big and strong that OcJinn sent for four berserker-warriors to hold down the
wild wolf, but it just threw them to the ground. In due course they got the beast to
fall on his side. This could not be a regular wolf; Snorri called it a horse, ON hestr,
and the dsir had struggled with getting an extremely strong wolf to be bound before;
and that is Fenrir, Gullveig s son. In my opinion it is unmistakable that this is a frag-
ment from that myth and that this giant-wolf is supposed to be Fenrir, which means
that this is the second time the dsir struggles with Fenrir with the intention of bind-
ing him. When Hyrrokin went up to the ship she launched it out to sea with her
very first push or blow, and it went out to sea with such speed fires flamed from
under the ship and the rollers - and all land quaked. I>6rr, the grumpy one, at once
grabbed his hammer to strike her dead, obviously in envy, but the gods begged him
to restrain himself and he did. With the metaphor that Hyrrokin dragged Hring-
horni into the sea we understand that the author of this myth wanted to make sure
that it was understood that Gullveig wanted Baldr dead, and she succeeded. A few
lines later Snorri explains that in front of I>6rr a "dwarf" named Litr came swimming,
and I>6rr by an obscure reason kicked the "dwarf * into the funeral pyre, and the
dwarf burned. This is such an odd detail that there had to be a deeper meaning to

::- :

Hyrrokin

us taken his mythos about

tell from his account of

be doesn't really understand;

mt of this saga is the one in

z r.

of Baldr - which I will dis-
had to attend his fu-
nded into Helheimr,
id Lofci is spying in the shape
fcafctr s funeral ship. However,
it - which I see from Snorri* s
e ; ~ : . c his pseudo-shape
pths that Porr catches Loki as
him back into his reg-
aflegorization that

)

Baldr t placed his body
nd when they were about to
: j_p it was simply too
help them put the ship
as reins, and the wolf
ter-wamors to hold down the
. they got the beast to
— . ailed it a horse, ON hestr,
Ir to be bound before;
able that this is a frag-
e Fenrir, which means
with the intention of bind-
■: a it out to sea with her
-reed fires flamed from
he grumpy one, at once
or ^ut the gods begged him
that Hyrrokin dragged Hring-
his myth wanted to make sure
ead and she succeeded. A few
H named Litr came swimming,
into the funeral pyre, and the
bad to be a deeper meaning to

this little factor. The confusion of Litr being a dwarf has its explanation in Veluspd's
list of dwarves which holds the dwarf-name Litr. However, with Rydberg s help I
am convinced this is a misunderstanding and that Snorri jumped to conclusions a
bit too easily. Litr is actually a bi-name for Loki meaning salmon, and this Loki-ep-
ithet is also used by Snorri himself in Snorri s Skdldskaparmdl 5 1. So to know indi-
recdy that it was Gullveig and Loki who killed Baldr and then see Loki and Gullveig
around Baldr 's funeral-ship makes it easy to see the author s point: Loki and Gul-
lveig brought Baldr to Helheimr.

Giants were often allegorized as sublime nature-phenomena such as storms,
earth-quakes, floods, volcanoes, and winter. In the Hyrrokin-saga she is the
metaphor for the eastern storm; eastern because her essence is continuously de-
scribed to come from austr, the east, she also came from Jotunheimr which is located
in the east. The mighty push by Hyrrokin on the ship Hringhorni is obviously
thought of as a strong wind, so strong not even I>6rr could match his strength. Call-
ing for an antagonist to help them bury their dead is of course very humiliating for
the <z$ir. And even worse, this antagonist helped to murder their beloved Baldr. Note
that its not unusual for giants and gods to help each other, but Gullveig and Loki
never had a benevolent intention with their "assistance".

There is also one interesting detail in the saga Helgakvida Hjervardssonar where
Hedinn, son of the Norwegian king Hjorvard, was on his way home and went
through the woods on Yule day, and there he met a "troll-woman" who rode a wolf
and had snakes as reins. She asked to keep him company, but he declined, which
made her obviously upset and she told him that he would pay for that at the vows
later that night. "Troll-women" are the same as giantesses, but they are called by all
kinds of surnames; flagb, skass,fdla etc. And this "troll- woman" is either Hyrrokin-
Gullveig or a Jarnvidja, a female dweller of Jarnvidr, as this way

of depicturing a giantess is so rare it could not be anything else.
Bugge though says; «det er hans broderHognesfylgje l », "it is his
brother Hogne s fylgja", which I'm not sure I could agree with.

1 Bugge, 1881-89, Studier over
de Nordiske Gude- og Heltesagns
Oprindelse I.

Hyrrokin is also mentioned in Skdldskaparmdl 1 1 in a list of giants and giantesses
that E>6rr had killed; this which Snorri had borrowed from the fragments found by
Porbjern Disarskdld's sagas. This is a big mystery as it is not told about this anywhere
else in any saga. So we must accept that there probably was a saga, which now is lost
forever, about J>6rr killing Hyrrokin-Guilveig.

>£fifti^

A S^mundar Edda- Study on Gullveig

«3lUi

(Xmu

on&X

l\~?

A big part of the ON mythology derives from the Eddas, and there are two Eddas.
The elder one is called the Scemundar Edda, which is found in the small book called
Codex Regius. This Edda is also called the Poetic Edda and Codex Regius is from ap-
proximately the late 1200 AD - it is a collection of peculiar poetic sagas, and the
ON mythological poems in this book are appreciated to have been composed be-
tween the years 800-1000 AD. Scemundar Edda is the most reliable source as it is
older and most likely written with fewer Christian influences; but the content of
Codex Regius is a transcription from earlier originals, which can easily lead to sus-
picion of errors and modifications.

The second Edda is called Snorra Edda (Snorri s Edda) or the Prose Edda-, the
Younger Edda. This manuscript was written by Snorri Sturluson around the year
1220 AD. This version is, in my opinion, less reliable because Snorri was a Christian
and he certainly brought his Christian influences with him into the writing of this
book, (he was a missionary, and he did not write this book primarily to hold on to
the Old heathen belief, he wrote it to show off his skill in e.g. ON poetic meter.)
What makes this Edda different from the elder one is Snorri s own version of the
Edda, which he calls Gylfaginning. He also added the books Skdldskaparmdl and
Hdttatal to this manuscript. It is here where my doubts mostly lay; his Christian in-
fluences are obvious in his Gylfaginning, which is in itself a very exciting mytholog-
ical saga, but it embellishes the original mythology too much.

This chapter is fundamentally made from the Scemundar Edda. It is important to
know that I have focused on the Poetic Edda, but also studied the Prose Edda, be-
cause I strongly suspect Snorri s Edda to be inaccurate because of the Christian in-
fluences, and that makes the sagas in Snorri s version falsified: nothing would make
me trust a Christian.

So in my investigations I have used, amongst others, Heimskringla s on-line col-
lection of Old Norse literature and material, Bugges Edda-work from 1867, Ryd-
bergs in depth Edda-studies from 1886-89, and sundry translations into modern

GULLVEIGARBOK

Swedish of both Eddas from authors like Brate, Thall, Collinder and Ohlmarks. I
would like to add that I will not go through all of the Scemundar Edda-sagas from
Codex Regius in this book, because some of them have nothing or so little to do with
Gullveig as to be irrelevant as I see it.

V0LUSPA

Voluspd means the prophecy of the volva, and velva means a wand-bearer believed
to be a prophetess, seeress, and a wise woman - a woman having magical powers
(the wand or staff was a symbol of this.) The velvet had another known and common
name too and that was heidr, often translated as seeress, prophetess and witch.

Something that needs to be kept in mind when it comes to the volva-heidr is that
she was a respected figure in the ON society; she was not the kind of witch reading
tarot-cards we have today, nor as depicted in the witch-hunts during the late middle
ages. No, she was a worshipper of the giants/gods and was in an extremely close
contact with these powers, its entity entangled her everyday life - that was her full
purpose of existence. She was the representative in human form of the giants/gods,
and back in those days nothing was more respected than the giants and gods.

1 In An Icelandic-English Diction-
ary by Cleasby and Vigfusson
troll is explained to mean giant,
fiend, demon; "the heathen creed
knew of no 'devil' but the troll";
and troll is even explained to be
a werewolf one possessed by troll
or demons, and a destroyer.

The prophecy starts with the volva remembering her lineage:
I remember giants in the primordial times that fostered me. She is
saying that she is a descendent from the primordial giants, and
among the primordial giants are no gods, as they were not yet
spawned. This brings me to the conclusion that she is a giantess;
and in this investigation it is important to observe that the Edda
states that she is fostered by "giants" (jetna) in plural as in par-
ents. So this far she is called a giantess-wZva born in the earliest
days of creation, and that definitively crosses out the possibility
and a common hypothesis that this prophecy was made by the norns as a triad of
women of fate (Urdr, Verdandi, Skuld - believed as being past, present and future),
because l) norns are not velvas, and 2) norns are not archetypal giants, they are
more dsir-hke in nature without genetic deformities or malevolent traits. So who
could this giantess-vfl/va be? Snorri might help us in his added list of "troll-women"
(twllkvenna) as he calls them 1 , meaning volvas or heidrs, and giantesses. Further-
more, as some of these names are known giantesses and the names themselves are
links to adversaries and giants, we can assume that most of these names belong to
giantesses and giantess-vtf/vas:

LSkalktrollkvinna

telja heiti.
GriSr ok Gnissa,
Gr^la, Br^ja,
Glumra, Geitla,
Grima ok Bakrauf,
Guma, Gestilja,
Grottintanna.

2. Gjolp, Hyrrokkin,
Hengikepta,
Gneip ok Gnepja,
Geysa, Hala,
Horn ok Hniga,
Hardgreip, Forad,

Hyrrokkin is of course
lveig s daughters are in thi
giantess-daughter who*
list are linking Gullvt g

For example Hrirr.ger

could refer to Gul

and in Helgakvida Hjtwwa

a water-giantess (she- wi_

of Hatafjordr and daug

HrimgerSr and Hati ar.

moon-wolf hunts oniv da

another giant called Hati

Gullveig studies because

father is called Hati and 1

db heiti, Hati hit minnftk

name is Hrimgadr,

dso a moon-chasing wc
breeds with her sons i:

: -jveig and HatL Furl

Hrftngerdr ofhaving cot

A SiEMUNDAR Edda- Study on Gullveig

L Collinder and Ohlmarks. I
: *zmundar Edda-sagas from
: "_r. c or so little to do with

a wand-bearer believed
having magical powers
it. - - - - Known and common
bophetess and witch.

to the v0lva-heidr is that
it e kind of witch reading
L-n _ - : fining the late middle
- i was in an extremely close
Jay hfe - that was her full
nan form of the giants/gods,
be : - . giants and gods.

*y remembering her lineage:

•mcs that fostered me. She is

om the primordial giants, and

as they were not yet

oduaon that she is a giantess;

runt to observe that the Edda

fc* Jttna) in plural as in par-

: : r — a born in the earliest

lely crosses out the possibility

bv the norns as a triad of

past, present and future),

at archetypal giants, they are

or malevolent traits. So who

lis added list of "troll- women"

and giantesses. Further-

md the names themselves are

lost of these names belong to

1 . Skalk trollkvinna

Hrydja, Hvedra

okjarnvidja,

1 telja heiti.

ok Holgabnidr.

Margerdr, Atla,

Grior ok Gnissa,

Eisurfdla,

I Gryla, Bryja,

3. Hrimgerdr, Haera,

Leikn, Munnharpa

1 Glumra, Geitla,

Herkja, Fala,

ok Myrkrida.

1 Grima ok Bakrauf,

Imd, Jarnsaxa,

1 Guma, Gestilja,

Ima, Fjolvor,

5. Leirvor, Lj6ta

I Grottintanna.

Morn, Ivioja,

ok Lodinfingra,

Amgerdr, Simul,

ICrdka, VarcJrun

1 2. Gjolp, Hyrrokkin,

Sivor, Skrikja,

ok Kjallandi,

1 Hengikepta,

Sveipinfalda.

Vigglo^, I>urb6rS -

1 Gneip ok Gnepja,

viljum nefna

1 Geysa, Hala,

4. Oflugbarda

Rygi sidarst

1 Horn ok Hruga,

okjarnglumra,

ok Rifingoflu.

1 Hardgreip, Forad,

Imgerdr, Ama

Hyrrokkin is of course Gullveig and she is a known giantess. Then two of Gul-
lveig s daughters are in this list, first we have Gerdr, Gullveig s beautiful humanoid
giantess-daughter whose name could mean armor 1 , and some of the names in this
list are linking Gullveig s essence to the name of Gerdr.

For example HrimgercJr 2 , which means Gerdr of rime, it
could refer to Gullveig s rime-essence and origin (hrimond),
and in Helgakvida Hjervardssonar Hrimgerdr is allegorized as
a water-giantess (she's called hdla, skassjdla, andgijfr), guardian
of HatafjorSr and daughter of a giant called Hati. Both
Hrimgerdr and Hati are said to be nocturnal entities (Hati the
moon-wolf hunts only during the night, but it might have been
another giant called Hati.). She is the most interesting for my
Gullveig studies because of her role, name and qualities. Her
father is called Hati and he is a very mighty giant: «Hrimgerdr
ek heiti, Hati hit minnfafar, pann vissa ek dmdttkastan jotun»,
"My name is Hrimgerdr, Hati is my father, the mightiest giant I've known." Hati is
also a moon-chasing wolf-son of Gullveig, and as it is said and known Gullveig
breeds with her sons in Jarnvidr, so Hrimgerdr could most likely be the daughter of
Gullveig and Hati. Furthermore, in the part called Hrimgerdarmdl Atli accuses
Hrimgerdr of having come up through the abyss and trying to destroy the captain's

1 Her mother s name means
"war-giantess" who dwells in
the "iron wood". As iron could
be looked upon as meaning
"weapon" all these names are
very much alike.

2 See the very important study
of Hrimgerdr in S. Bugge, 1896,
De Nordiske Gude- ogHeltesagns
Oprindelse II Helge-Digtene.

Gullveigarb6k

ship and give the crew to Ran, the sea-giantess. However, Hrimgerdr calls Atli a fool
and says that it was her mother, not herself. So who is her mother then that comes
up from the abyss? 1 The myth does not say, but by a mysterious reason, a few stanzas
away, a giantess is riding in the woods on a wolf with snakes as reins on Yule day.
This is without doubt an inspiration of Gullveig under the name Hyrrokin. Equally,
if you take a look at all the connections to Gullveig in this short passage in the Hel-
gakvifia Hjorvardssonar, the author must have had Gullveig, the moon-wolf and her
daughter GercJr as influences for these characters.

1 For a more detailed account
on Gullveig and the water con-
nection see the chapter on Gul-
lveig s names and epithets.

2 Imgerdr is not mentioned any-
where in the Eddas, so she most
definitely belongs to a lost saga.

3 It is probably related to the
Old Icelandic word atnma
which means "grandmother"

4 Liljenroth, Den Gomda Gudin-
nan I Nordisk Mytologi, and
Hellquist, 1939, Svensk Etymol-
ogist: Ordbok.

fmgerdr 2 , which means Gercir of ember - referring to
GercJr glowing like the sun, by the witchcraft of her mother
Gullveig; also Amgerdr which means Mother-Gerdr or more
likely mother of Gerdr which refers to Gullveig herself, be-
cause Gerdr does not have any children in the sagas and nor
is she known for being connected to a mother-aspect. Lastly,
we have the name Margerdr which most certainly means
Gerdr the maid or Gerdr of the ocean. This ON mar- could
also derive from the ON verb merja, to crush, and then Marg-
erdr would mean Gerdr the crusher - which goes well with
a) the warlike translation "armor" of her name, and b) her
connection to water/ice (see Hrimgerdr and the chapter on
Gullveig s names and epithets.) Mar- could also derive from
ON marr, a steed.

Then we have Leikn which is a name for Hel s more chthonic and pestilent aspect,
which is explained to be a later development of her characteristics - 1 am not sure
though about that, because Hel as a ruler of the dead and Niflheimr was most likely
very early considered to be the influence of pestilent epidemics. This does not mean
that Helheimr had to be Hels equivalence. There have been many discussions about
Leikn being Hel, but in my book they share essence, attributes and manifestations.
The same goes for the name Ama 3 , it means "mother" and is a very old name for
Hel 4 . Then we have Gullveig s demon-children from Jarnvidr who are said to be
spawned by Gullveig and Fenrir, but most likely these children were just spawned
by Gullveig alone, and they are called jdrnvidja and tnyrkrida; they are she-troll/gi-
antesses.

Many of the names and epithets in the list are from, as of today, unknown mytho-
logical characters, withered sources lost by time; or rather burnt and destroyed by
the Christian church while invading the north. However, the names indicate giant-

idated words. Most oft

— instance the name H
burnt by smoky (impo:

Well, could any giant
only known one in the
look at other known eianti

I) Sinmara - the blac
ous epithet hinfelvagygr
~:undar Edda in the saga c
the sword called Lawitdm
bum down the world

an iron-chest with nine Io-
one", mara derives from d
mutilates by ripping out
analogies whatsoever betx

II) There is also the
Heimdall. They are just

kamma: Gjalp, Greip, Eisl
Ada, and Jarnsaxa. Imd is 3
ingsbana I as having a dau
the same as the one of the
not spoken of and there is
be the giantess-vafva that

III) Hyndla is a giani
song Hyndluljod is about
to Aurboda-Gulhreig, a:
Hyndla in Hyndluljod.

IV) Ndl or Laufe) is a
tele-known. She is only i
Samundar Edda: in Lok*
Skdldskaparrndl and Gylh

Sva at I

A S^mundar Edda- Study on Gullveig

HrimgenJr calls Atli a fool
her mother then that comes
reason, a few stanzas
reins on Yule day.
name Hyrrokin. Equally,
short passage in the Hel-
l the moon-wolf and her

rer - referring to
b« witchcraft of her mother
Mother-GeroT or more
to Gullveig herself, be-
in the sagas and nor
1 to a mother-aspect. Lastly,
~--~ >: certainly means
TKtt iL Th i s ON mar- could
a crush, and then Marg-
in- - which goes well with
wT of her name, and b) her
~ , . : ; : and the chapter on
juld also derive from

and pestilent aspect,

^eristics - 1 am not sure

- eimr was most likely

This does not mean

many discussions about

and manifestations.

a very old name for

~mridr who are said to be

iren were just spawned

W- : they are she-troll/gi-

day, unknown mytho-
bumt and destroyed by
e names indicate giant-

related words. Most often their names derive from an epic in the mythological sagas,
for instance the name Hyrrokin which derives from the epic when Gullveig was
burnt by smoky (impure) flames, hence Hyrrokin - the flame smoked.

Well, could any giantess-w/va in this list be the one prophesying in Veluspd? The
only known one in the list that would fit is Hyrrokkin- Hyrrokin. I will also take a
look at other known giantesses (velvets or not) that might be relevant:

I) Sinmara - the black one (surtrar) l and the pale giantess (after her mysteri-
ous epithet hin felva gygr) , she is only named two times throughout the whole Sa-
mundar Edda in the saga called Fjelsvinnsmdl. She is said there to be the keeper of
the sword called Lavateinn, i.e. Gambanteinn-, the sword of revenge that Surtr will
burn down the world with, it is also called here "the shining scythe." She keeps it in
an iron-chest with nine locks. Sin means tendon, and mara means "the mutilating
one", mara derives from the verb merja, so Sinmara means roughly "the one who
mutilates by ripping out tendons". 2 She is not spoken of as volva, and there are no
analogies whatsoever between her and the narrator of "Voluspd.

II) There is also the nine-fold of giantesses that bore
Heimdall. They are just mentioned in Eddas saga Veluspd in
skatnma: Gjalp, Greip, Eistla, Eyrgjafa, Ulfrun, Angeyia, Imdr,
Atla, and Jarnsaxa. ImcJ is also mentioned in Helgakvida Hund-
ingsbana I as having a daughter, but I am not even sure this is
the same as the one of the nine-fold. Other than this they are
not spoken of and there is no reason to believe that they would
be the giantess- velva that I am looking for.

III) Hyndla is a giantess-maid, a wise-woman, that the
song Hyndluljod is about. Hyndla is in my opinion analogous
to Aurboda-Gullveig, and she is only mentioned by the name
Hyndla in HyndluljdS.

1 Ohlmarks, Brate, and Thall
translate this as Surtr. This is
probably where people got the
idea that Sinmara is Surtr's
wife; my personal theory about
this matter is split, as no other
mythological evidence sup-
ports that they belong together.

2 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary. I
consider the connection be-
tween the names Sinmara and
MargercJr interesting, but I will
not go further about that here.

3 Skdldskaparmdl 23.

4 Gylfaginning 33.

IV) Ndl or Laufey is a very mysterious character and very
little-known. She is only mentioned and referred to as "Loki s mother" twice in the
Stemundar Edda: in Lokasenna and in Prymskvida. She is mentioned just once in
Skdldskaparmdl and Gylfaginning, and also here just referred as "Loki's mother":

Sva, at kalla hann son Farbauta ok Laufeyjar, Nalar 3 .
Modir nans heitir Laufey eda Nal 4 .

Gullveigarb6k

In Serla Pdttr 2 she is also just brought up as "Loki's mother":

Madr het Farbauti. Hann var karl einn ok atti ser kerlingu |3a, er Laufey er nefnd.
Hun var baedi mjo ok audbreiflig; t>vi var hun Nal kollud. £au attu ser einn son

barna. Sa var Loki nefndr.

. Laufey could mean "a leafy island", which supposedly is a metaphor for the tree-
crown. Nal means needle; I have come across some other theories about the mean-
ing of her name, but since I have not found any good support for their authenticity
I will not bring them up here. Over and over I see these forced explanations for her
name which are mostly hypotheses deriving from ignorance, misunderstandings
and uncertainties. The same goes for her mythological appearance. Thus, I have not
really found any strong enough evidence to support that she could be the giantess-
volva seering about the world s fate in Voluspd.

V) Sigyn is referred to in Vizluspd as "Loki s wife" and the same in Lokasenna
where she caught the poison pouring from a snake s fangs with a bowl, preventing
it from dripping in Loki s face. The same story but more detailed can be found in
Gylfaginning. In Skdldskaparmdl she's in a list over dsynjur together with Gerdr, and
in the list over Lokakenningar as "Loki s wife" (ver Sigynjar). That's about it, and I
definitely do not see any connection here.

VI) Hel is a giantess, but not known as a volva, and she is not said to have any
seering traits either, even if she is Gullveig s most known daughter. So I cannot see
any reason for it to be Hel.

VII) Ran the giantess of the waves - the ocean waves were symbolized as nine
sisters; her daughters: Himinglaefa, Diifa, Blodughadda, Kolga, Hefring, Unr,
Hronn, Bylgia, Drofn. And as Hel, she is more of a giantess ruling over the dead
than a seering velva. The only one that fits this description is the giantess described
in the Voluspd itself, stanza 22:

Heidr her name was,

to houses she came,

the seeress with adequate prophecies.

She wielded witchcraft,

she conjured disease,

she invoked Leikin,

always was she loved

by wicked women.

As we know, Heidr
her crone (velva/hadr)
21 and 22 belong to each
she was killed and b<
Stanza 22 explains how
them together it is even

After this investigation
to designate Gullveig a
prophetess of the Voluspc
and velva, seeress.

As for her essence wit
vestigate it and expose m

skIrnismAl

This is the saga where
Asgardr and spies into )&
beautiful maid of them all
Gvmir and Aurboda. As
Freyr was bewitched and t
and to woo her on Freyi
promising gifts and in tr
ruses, but eventually she i.

This saga is very import
the Gambanteinn is the e
burn all of the worlds with
hands without him know
out by the thurses, name!
the sword Gambanteinn a

A SvEmundar Edda- Study on Gullveig

■

r :

pa. er Laufey er nefnd
a~ atlu ser einn son

p a metaphor for the tree-

fries about the mean-
- their authenticity
£ explanations for her
;. misunderstandings
17 7 , _ ^.e. Thus, I have not

. - be the giantess-

_ -

same in Lokasenna
igs with a bowl, preventing
re i can be found in

~" t : i = : r. e : with Geror, and
■*)- Thats about it, and I

lot said to have any
ten So I cannot see

*iere symbolized as nine
Kolga, Herring, Unr,
■fi7 i « ruling over the dead
ion is the giantess described

As we know, Heidr is one of Gullveig s known names and she got that name from
her crone (velva/heidr) aspect. Furthermore, I am pretty sure that the V^lwsp^-stanza
21 and 22 belong to each other. Stanza 21 introduces Gullveig and explains how
she was killed and became the reason for starting the first war (folkvig) in the world.
Stanza 22 explains how she returned as HeicSr and as a crone (volva/heidr) . If I put
them together it is even more obvious; I start where the stanza 21 ends:

Thrice they burned

the thrice reborn,

often, not seldom,

yet she lives.

Heidr her name was,

to houses she came,

the seeress with accurate prophecies.

After this investigation I think I can conclude that it is fair
to designate Gullveig as the narrating giantess-v^/ya or
prophetess of the Veluspd, as Gullveig is called gygr, giantess,
and velva, seeress.

As for her essence within this saga, I will thoroughly in-
vestigate it and expose my conclusions in this book.

skIrnismAl

This is the saga where Freyr sits up in the tower Hlioskjalf in
Asgardr and spies into Jotunheimr, seeing there the most
beautiful maid of them all; the giantess Gerdr, daughter of
Gymir and AurbocSa. As she was walking in her father s yard,
Freyr was bewitched and told his servant Skirnir to go to her
and to woo her on Freyr s behalf. And he does so, at first with
promising gifts and in the end with threats. At first Geror re-
fuses, but eventually she agrees.

1 This "sword of revenge" or
"sword of victory" has different
epithets in the sagas: Gamban-
teinn (the sumptuous sprout; -
teinn was an ON poetic
metaphor for a sword or a
wand, gambanteinn is used in
Skirnismdl, and compare it to
the later used word gambanreipi
in the same saga), Hae-
vateinn/Homateinn (it might
mean the splendid sprout, used
in Fj0hvinnstndl) , Mistilteinn
(the mistletoe sprout, used in
Snorra Edda, Nafnapulur 42 as
a sword epithet), and
Tamsvondr (the taming wand,
used in Skirnismdl).

2 See Lokasenna.

This saga is very important because it holds clues to the Gambanteinn-mythos 1 ;
the Gambanteinn is the epithet for the sword that Surtr, during Ragna Rok, will
burn all of the worlds with, and this sword is quick- wittedly snatched out of Freyr s
hands without him knowing what this bargain will result in. 2 This deed is carried
out by the thurses, namely Gullveig and her allies. As Aurbooa- Gullveig receives
the sword Gambanteinn and takes it to the Ironwood, Jdrnvidr, and lets her ally and

Gullveigarb6k

beast-herder EggJ>er keep it until Surtr s son will come as a red rooster and get it
for him in the dawn of Ragna Rok. The Gambanteinn-mythos will be further ex-
plored in other parts of this book.

Skirnistndl tells us how Gerdr is the bargain and thursian sacrifice to win this im-
portant sword Gambanteinn; she is in fact bought with gold and traded for the
sword. A more detail account of this saga is to be found in the chapter on
AurbocJa below.

1 Compare this to the ylgr, the
she-wolf that comes at mid-
night to kill and eat warriors in
Velsunga Saga in this book.

hArbardslj6b

There is actually only one small detail I want to bring up in this saga and it is when
]>6rr explains that he fought vargynjor, wolf-women, on the Danish island called
Hleysey, and not regular berserk-women 1 . As it is told that Gullveig is the mother

and fosterer of all wolves and werewolves, these wolf-women
spoken of must be of her descent. l>6rr is known to be out
killing and fighting giantesses and these wolf-women are most
likely of a giant-race. The reason why I bring this small detail
up is that I want to underline that the belief in werewolves and
their strength was intense and it derived from a belief in thur-
sian troll-like monsters. If E6rr had to fight them and not just slaughtered them it
means that they could stand their ground and only prime giants were powerful
enough to fight J>6rr. These are female versions of Fenrir, Hati and Skoll; unresting,
uncontrolled and wrathful beasts that have tremendous strength. They are amor-
phous and rabid powers, metaphors for destruction and force (this is why death-
runes are used within their evocations.) Their amorphous nature is a shadow of
their true essence; they are so connected to the acosmic Chaos in spirit that they
shift from wrath to pseudo-control unrestrainedly. Form cannot dominate them -
but they can dominate form. This wild and uncontrolled side of their spirits comes
from Gullveig, as she is the manifestation of an un-natural existence. We can com-
pare that to the untamed spiritual essence of Lilith.

LOKASENNA

Lokasenna is a very entertaining saga, as it tells us much about the bad side of many
ctsir. In Gymir s hall most of the dsir have come to enjoy Gymir s excellent mead;
the cesir praise his two servants very much for their service. But Loki loathed and

killed one of them b
death. This made the ...
superior in this game md 1

To follow up :
creations towarc
craft, «lmert/. :.
in it" Fordada een a
practicing this kind of wr
mem all that Aurboda- G u
the arts of fordaduskapr
r : ;a-GulIveig I : I I .-. > wfc
the treacherous and e

in so man*
overlooked and mismhri
been interpreted as Fie

-ourse raise and iim-
Gullveig.

BALDRS DRAUMAR

Id Baldrs Draumar
SiBhe^«mdrt>adanntfhd
ning at him, bloody and i
hdjukom>--Az?ie. ^
seeking laid (buried
Odinn

east to visit the vtha. Ge
assume that he went to th

to be located, and to mat
understand that Jorui
too misguiding, I

- which is much n

-it

iijjiilthaititisther

A SjEmundar Edda- Study on Gullveig

as a red rooster and get it
t : os will be further ex-

bhe sacrifice to win this im-
~zr ; .: and traded for the
e tbund in the chapter on

- - aga and it is when
the Danish island called
- : c is the mother
these wolf-women
r.own to be out
wolf- women are most
'. : : . : this small detail
>ehef in werewolves and
-"' - - - . ~~ a belief in thur-

htered them it

gs > were powerful

Hati and Skoll; unresting,

length. They are amor-

bice (this is why death-

s nature is a shadow of

uc Chaos in spirit that they

mnot dominate them -

sd side of their spirits comes

[ existence. We can com-

-■* ^IILIJI

i about the bad side of many

d v Gymir s excellent mead;

i :c But Loki loathed and

killed one of them because of it, which reminds me very much of the saga of Baldr s
death. This made the cesir upset and hard words were exchanged. Loki was of course
superior in this game and humiliated and silenced each and every one of them.

To follow up the context of this book, I would like to put emphasis on Loki s ac-
cusations towards Freyja. He accuses her of being a witch involved in much witch-
craft, «pu ertfordceda ok meini blandin mjok» l , "you are a witch and much involved
in it." Fordceda is seen as a witch in the worst sense, and for her being accused of
practicing this kind of witchcraft, fordceduskapr, is of course intended to remind
them all that Aurboda-Gullveig once served Freyja as her maid and lured her into
the arts of fordceduskapr. This was a big tragedy for Asgaror and they burned Aur-
boda-Gullveig for this when the dsir realized what was going on between Freyja
and the treacherous and evil Aurboda-Gullveig.

As in so many other places in the sagas this has been totally
overlooked and misinterpreted; these words by Loki have
been interpreted as Freyja being in fact Gullveig, but this is
of course false and dim-witted. Freyja is the opposite of
Gullveig.

1 Lokasenna 32.

2 Here Garmr is connected to
Hel as her ally and champion.

3 See appendix for my map of
the underworld.

BALDRS DRAUMAR (VEGTAMSKVIBA)

In Baldrs Draumar it is said that Odinn rides down into the underworld, towards
Niflhel, «nidrpadan niflheljar til», and to Hels house, Heljar rann. Garmr came run-
ning at him, bloody and baying, from Hels abode, «mcetti hann hvelpi, peim er 6r
helju kom». 2 At Hels gate he turned off to the east where he knew that the volva he
was seeking laid (buried): «pd reid Odinn fyrir austan dyrr, par er hann vissi volu
leid». Odinn rode towards Niflhel, which here could be an epithet for Hel, Nifl-Hel,
as she is chief ruler of Niflheimr; he came to Hels house where he turned to the
east to visit the V0lva. Geographically this does not make much sense to me, but I
assume that he went to the east as that is where the infamous Ironwood is explained
to be located, and to make an analogy it is safe to say 'to the east' for everybody to
understand that it is Jotunheimr and Jarnvidr we are dealing with. At the same time
it is not too misguiding, because if we say that Odinn arrived at Hels abode in Hel-
heimr - which is much more likely than if he would have ended up in Niflheimr in
Chaos (!) - it could be imagined according to map 3 and understanding that to the
north-east the snowy realm of Jarnvidr would be located in the sagas. I am pretty
swayed that it is there where Odinn is supposed to find the velva.

GULLVEIGARBOK

Nonetheless, he arrived at the velvet's grave in the east and sang a death-galdr (an
incantation) to her, and thereby she was forced against her will to rise from the dead
and speak with him. This is actually one of the few known evidence of the fact that
the people of the Old Norse believed in this sort of necromancy and the black art
of making the dead rise. Through this stanza we can learn that if you have the proper
runic galdr, runic magic formula, you could actually raise the dead from their grave.
The stanza says «nam hann vittugri valgaldr kveda, unz naudig reis». OSinn orders
the velva to speak from the dead, segdu mer 6r helju, and he tries to get as much in-
formation out of her about Baldr s death as he can, as he keeps telling her to speak
up and not to be silent; «pegj-at-tu, volva, pik vil ekjregna, unz alkunna, vil ek enn
vita». Like Voluspd and Voluspd in skamma she seers about the future, but this time
about the murder of Baldr, and determinedly she tries to be released of the death-
galdr so she can return, «naudug sagdak, nu mun ekpegja». As the last but one stanza
divulges, the volva is Gullveig, «ert-at-tu volva ni vis kona, heldr ertu priggja pursa
modir», "you are the mother of the three thurses", and then with the knowledge
that Gullveig and Loki were the ones behind the plot in murdering Baldr (see my
chapter on Baldr s death below) this interview with OcJinn seems to force Gullveig
to reveal her and Lokis plans, «naudug sagdak, nil mun ekpegja» t "forced am I
to speak, now shall I remain silent". But still, amazingly, OSinn does not get it,
and during the day of Baldr s death, he watches Loki make Hodr kill Baldr.

The volva says to Ociinn that she has been laying there dead for a long time: «Var
ek snivin snavi ok slegin regni ok drifin doggu, daub var ek lengi». Then there comes
something very interesting; the volva says that "here the brewed mead for Baldr is
kept, the ethereal brew with a shield upon it, the sons of the gods are eagerly awaited
(en dsmegir i ofveeni)". Remember now that they are in the eastern parts of the un-
derworld, which could only mean that they are somewhere in Jotunheimr, and most
likely in Jarnvi<5r. Gullveig is a rime-thurs, whose grave has been snowed on, and
she is supposedly dead in this episode, or has metaphorically descended into the
realm of the dead and giants, which is not the same as being dead for a giant; re-
member that Gullveig, as Loki, is known to walk between the worlds at will. This
can of course be confusing for someone unknowledgeable in the subject and with
mediocre eyes look upon as "the dead he in graves."

Equally, what she meant with "the sons of the gods are eagerly awaited" must be
referring to Baldr and Hodr who will both be killed and sent to the underworld;
Baldr by Hodr, and Hodr by Vali, which Gullveig foresees in stanzas 9 and 11. She
is obviously a well-respected volva with a much grander ability to forsee the future
than Odinn himself, because he rides on the road deep down in the underworld

AS£MU

where most of the terri
her from her Hel-slumber

Grimm wrote on the s
"var ek snifin snidfi (by sn*
ek leingi) it is among the
in close relationship to Hel
terious volva is entangled
agree with Grimm that
lay my theories:

1. She is laying in
in the east and she is i- so

2. She is a mign:
OSinn himself. The
acters that are wiser than O*

3. She is alleg
where to find hen
Gullveig three times ; r : ~
believed to have been

4. Thevv 1 ; i
about Baldr s murder
because she is the one |1
and to provoke Ra^

5. And as the last and

the end of their ^

pursa mod.
ofjenniingandi Fenrir am

with three known tbms<i

HYNPLULJ6© AND

Hyiuftuljod and Vfcfcup- m

which hare bi

A S^emundarEdda- Study on Gullveig

and sang a death-galdr (an
»t her will to rise from the dead
nown evidence of the fact that
necromancy and the black art
am that if you have the proper
the dead from their grave.
m. ; ras». OcJinn orders
e tries to get as much in-
s he keeps telling her to speak
prgnOt unz alkunna, vil ek enn
about the future, but this time
tc be released of the death-
the last but one stanza
hddr ertu priggja puna
then with the knowledge
at m murdering Baldr (see my
Odinn seems to force Gullveig
-nur. -:k pegja», "forced am I
z-.r Cdinn does not get it,
Hodr kill Baldr.

bere dead for a long time: « Var

wr ek lcngi». Then there comes

brewed mead for Baldr is

:- ^ gods are eagerly awaited
\ in the eastern parts of the un-
wfaere in Jetunheimr, and most

* has been snowed on, and
tphorkally descended into the
e as being dead for a giant; re-
etween the worlds at will. This
: ^ - 27>ie in the subject and with

are eagerly awaited" must be
d and sent to the underworld;
■ : - > es in stanzas 9 and 11. She
ider ability to forsee the future
deep down in the underworld

where most of the terrible, wrathful and mighty rime-thurses dwell, just to wake
her from her Hel-slumber and ask for her knowledge to foresee Baldr s destiny.

Grimm wrote on the same thing as me in his work Teutonic Mythology. He says:
"var ek snifin sniofi (by snow), ok slegin regni, ok drifin doggo (by dew), daud (dead) var
ek leingi; it is among the sublimest things the Edda has to shew. This vala must stand
in close relationship to Hel herself." In my opinion, this whole myth about this mys-
terious volva is entangled in elements that remind me of Gullveig. Since I totally
agree with Grimm that this velva must be in a close relationship with Hel, I will here
lay my theories:

1. She is laying in a grave in the east. Gullveig s abode or realm JarnvicJr lays
in the east and she is also called the giantess of the eastern storms.

2. She is a mighty velva, a seeress, mightier in knowledge and to seer than
Odinn himself. The myths give details that there are only a few mythological char-
acters that are wiser than Odinn, one of them is Gullveig.

3. She is allegorized as dead and buried, and OSinn seems to know exactly
where to find her; this could be a self-explanatory testimony of when the sesir killed
Gullveig three times, sent her to the realms of death in the underworld and thereby
believed to have been " buried".

4. The velva has the answer to all of his questions and she knows everything
about Baldr s murder, Hodr s deed and their journey to the underworld. She knows
because she is the one planning the whole strategic deed to murder Baldr, use Hodr,
and to provoke Ragna Rok.

5. And as the last and strongest proof of my theory I will quote what is said in
the end of their conversation in Baldrs Draumar; 0<3inn says: «heldr ertu priggja
pursa modir», "you are rather the mother of the three thurses"; hence the mother
of Jormungandr, Fenrir and Hel, which is Gullveig. There is no other thurs-mother
with three known thurs-children.

HYNDLULJ6B AND V0LUSPA IN SKAMMA

Hyndluljod and Voluspd in skamma, "the smaller V&luspd", are supposedly two sepa-
rate poems, which have been thought of as one. Hyndluljdd is suspected of having a

GULLVEIGARBOK

manifold of additions to its saga and therefore viewed as distorted 1 . Even so, with
this knowledge at hand, Hyndla is described as a very wise woman who lives in a
cave amongst rocks, «i helli bjr», Hyndla has there in her abode a stable with
wolves, «taktu ulfpinn einn afstalli». In stanza 4 it is indirectly said that Hyndla is
a giantess:

1 See commentary on Hynd-
luljdci in Brate, 1913, Sdmunds
Edda.

t>6rr mun hon biota,

t>ess mun hon bidja,

at hann ae vid |3ik

einart lati;
|30 er hanum otitt
vid jotuns brudir.

"To I>6rr I shall sacrifice and pray that to you always be honest; though he does
not favor giantesses."

The poem is about when Freyja goes to Hyndlas cave to ask for a favor, Freyja
promises her wealth, but Hyndla sees through her lie immediately. In the very be-
ginning of the song Freyja calls Hyndla "you maid of maids", «m<zr meyja», and
"my friend and sister", «tnin vina, Hyndla systir». This implies an intimate and close
relationship, which makes me think of Freyja s shocking relationship with Aurboda-
Gullveig. Furthermore, if Hyndla is supposed to be Aurboda this means that Freyja
knew that AurbocJa was a giantess and still Freyja tried to get Hyndla to go with her
to Valholl - into Asgardr. She even promises Hyndla that she would make l>6rr think
good of her - even when the fact that Hyndla was a giantess - with the means of
blot, worship, and bidja, prayer, which could have been thought of as means of witch-
craft; something not surprising since we already know that Aurboda taught Freyja
as Freyjas maid in Asgarcfr.

Hyndla means dog and she has wolves that she rides in her stable; this is a typical
trait for witches, flegcf, troll- woman, in the ON folklore and mythology. Garmr is
explained as being a dog and at the same time he shared qualities with the thursian
wolves Fenrir, Hati and Skoll; the latter two are explained in Gylfaginning 12 to be
sons of Fenrir and Gullveig. Hati is there called Hati HrocJvitnisson - «Hati, hann
erHrodvitnis sonr» in Grimnismdl 39 -, son of HrocJvitnir (Hroovitnir is another of
Fenrir s names). My point is that in Gylfaginning 12 Hati is called by the epithet Ma-
nagarmr, "the moons Garmr", which influences me into believing that Garmr is a
thursian wolf-son to Fenrir and Gullveig as well, and that dog is just another word
for the wolf-guardian of the underworld, as dogs are used by humans to guard their
grounds - which as a hypothesis could mean that the Old Norse people thought

and dogs were
epithet for her wolfish nail

AD of these details depk
the relationship between I
maid: the fact that Hvndb
stable instead of horses co
a wok as welL

the ONr
a good reason tor it,
. irate p. em n\z ~

ess — I believe she was acta

- skamma ) too it must hi
over, instead of makin _
-_r Jl v l and re- . ; : : r. - " "
old and knowing as the
same as the mentioned e
older and wi er than the m
ated by Ymir, t>mdgeimi
- i_ - r = : r. c - and it is toon

and seering of Ragna Rok
of Aurhoda. <fl

that Byieistr s brother
ss daughter (Hel sh<
s halfburnt heart m ti

aw all the monsters came
<aBbcrzndr) come firon:

tnk. Hyndla ends her spe

bornins down the entire %

A S,EMUNDAR Edda- Study on Gullveig

sd as distorted 1 . Even so, with

wise woman who lives in a

- "J" ner abode a stable with

j-. ^ ' :cth said that Hyndla is

nor : ::i
-■■:- : :a

. onest; though he does

-•■_._-

- "* • i)l

i = : : ask for a favor, Freyja
mediately. In the very be-
<crruzr meyja», and
an intimate and close
ihip with Aurbooa-
. _:: : this means that Freyja
sd to get Hyndla to go with her
bat she would make t>6rr think
- with the means of
: " : -_;\: of as means of witch-
Mr that Aiirboda taught Freyja

i her stable; this is a typical

lore and mythology. Garmr is

ired qualities with the thursian

ii.:'.-:m Gylfaginning 12 to be

: Hrodvitnisson - «Hati, hann

jiir ( Hrodvitnir is another of

lafc is called by the epithet Ma-

oelieving that Garmr is a

it dog is just another word

us edby humans to guard their

he Old Norse people thought

wolves and dogs were very much connected. I believe Hyndla is supposed to be an
epithet for her wolfish nature: "the she-wolf."

All of these details depicted in Hyndluljod remind me very much of Gullveig, e.g.
the relationship between Freyja and Gullveig as in the saga of Aurboda as Freyjas
maid; the fact that Hyndla means dog or she-wolf, and that she has wolves in her
stable instead of horses connects her very much to the saga about Hyrrokin, who
rode a wolf as well.

In Veluspd the giantess- velva reveals the future of the worlds in a prophecy, and
when the ON people chose to make Hyndla seer Veluspd in skamma they must have
had a good reason for it, even though the short text Veluspd in skamma was originally
a separate poem, and I believe that this Hyndla giantess was originally seen as a seer-
ess - 1 believe she was actually Aurboda- Gullveig; as this prophecy is called Veluspd
(in skamma) too it must have been believed that the same seeress foretold it. More-
over, instead of making it fully a prophecy Hyndla lists a manifold of giants and ctsir
families and relations with deep insight. This gives you the feeling that Hyndla is as
old and knowing as the giantess -velva of Veluspd. Hyndla could therefore be the
same as the mentioned giantess-v0ft/a. The sagas say that all giants are old and wise;
older and wiser than the asir, but only a handful are from the primordial family cre-
ated by Ymir, l>ruc5gelmir, and Bergelmir, and only these old thurses are all-knowing
- all-seeing - and it is from this primordial family that the giantess-vflZva of Veluspd
presumably originates from. In Hyndla s insightful listing of families and relations,
and seering of Ragna Rok, she manifests fundamentally the
relations of Aurbooa, Gymir and Gerdr 1 ; I>jazi and Skacii;
Hrimnir, Heior and Hross{>j6fr; Loki, Angrboda and Fenrir;
also that Byleistr s brother (Loki) had the most gruesome gi-
antess daughter (Hel); she seers about Loki seeking up Gul-
hfeig s half burnt heart in the ashes and devouring it, and that's
how all the monsters came to the world; also that all sorcerers
{seidberendr) come from Surtr (Svarthefli) and all giants from
Ymir. Hyndla ends her speech with foreseeing that the ocean, storms and snow will
prepare for the world s downfall; she sees Ooinn go into battle with Fenrir, and fire
burning down the entire world:

1 The secret knowledge that Au-
rbocJa was G^mir s wife was
only known by Gullveig and
Loki in the Eddas. This secret
knowledge also links Hyndla
strongly to Gullveig.

see fire flaming
and the earth belch out smoke-,
almost everybody will die.

GULLVEIGARBOK

This is undoubtedly in the vein of the Wuspa-prophecy, and when you start to
think of how many giantesses are mentioned in the Eddas, you will quickly under-
stand that they are very few. Indeed, if you consider that the giantess has a greater
purpose, there are far, far fewer. It is normal that the same characters with the same
traits show up over and over in the sagas but under different names and epithets, so
it is evident to me that Hyndla is the same giantess-vtffva as the prophetess in
Voluspd. Indeed, if the Vtf/wspa-prophetess is Gullveig, Hyndla actually fits pretty
well as Gullveig "in disguise" - crone of many manifestations, traits and names;
mother of the thurs-wolves, and inventor of sorcery.

HELGAKVIDA HUNDINGSBANA I

See my chapter on Angrboda.

A Snorra Edda- Study on Gullveig

r r :- w and when you start to
lidos, you will quickly under-
cut the giantess has a greater
me characters with the same
:rTr- : names and epithets, so
s-r*ha as the prophetess in
g, Hvndla actually fits pretty
testations, traits and names;

I would like to go through Snorri Sturluson's works and scrutinize his version of
Gullveig s essence in the ON mythology. Even though Snorri was a Christian he
still lived in a vital era of the Old Scandinavia and he had access to the original belief
and the as yet untarnished mythos. He was brought up with the original tales of the
Old giants and gods and had them all told to him by the oral tradition that was still
in existence at that time. This makes Snorri a very important source for my ON
studies. His texts are an important part of the ON literature and mythology and by
reading between the lines and comparing it to other ON mythological texts you
can, albeit with a fair amount of difficulty, understand what is in line with the true
ON tradition and what are Christian influences. Christianity as a foreign way of
thinking stands out from the ON one and that is an advantage in this context.

I will, in this chapter, focus on Snorri s version of the Edda which is known as
Snorra Edda (Snorri s Edda) or the Prose Edda; Younger Edda. It was written by
Snorri around the year 1220 AD. As I said in the previous chapter, what makes this
Edda different from the elder one is Snorri s own version of the Edda which he calls
Gylfaginning, where he makes up his own story about a sort of an interview with
three wise-men or gods (obviously 6 Sinn himself and his two brothers) who an-
swer the interviewer s questions. Snorri quotes the Scemundar Edda in addition to
his own made up story. Another mythologically important text that he added is the
SkdldskaparmdL

GYLFAGINNING

Gullveig is introduced in chapter 12 as being the mother of the thursian wolf-race:

A giantess dwells to the east of Miogaror, in the forest called Jarnviflr: in that wood
Gwell the troll-women, who are known as Jarnvidjur (ironwood-women). The old gi-
antess bears many giants for sons, and all in the shape of wolves; and from this
source are these wolves sprung (i.e. Fenrir, Hati (whom I believe is the same as

Garmr), and Skoll).

Gullveigarb6k

mum».

Snorri quotes Veluspd 40-41, stanzas which depict Gullveig as the Old One who
lives in the infamous woods called the Ironwood, and that she is there mothering
the horrible offspring of Fenrir from where all monsters derive.

Not until chapter 34 is she brought up again and this time by name, Angrbocta.
She is described as dwelling in Jotunheimr and to have had three children with Loki:
Fenrisulfr, Jormungandr (here also called MidgarcJsormr), and Hel. However, when
the gods learned that they were brought up in Jotunheimr and that the prophecy
called Veluspd had told the gods that these kindred would bring great misfortune
upon them, and they realized what a horrible monster-breed this was, considering
their evil mother and their cunning father (both being thurs -giants), OcJinn ordered
the cesir to bring the kindred to him. When they did so he cast the serpent into the
sea at once, and the serpent grew so big that it encompassed all of the land and bit

its own tail. Hel was cast into Niflheimr, and Ociinn gave her the
rulership over the nine worlds 1 . And Fenrir they bound with
magical fetters made by dwarves from Svartalfaheimr, not by the
dsir. Although it was not until the third fetter, which was called
Gleipnir (the two first fetters which broke were called Laedingr
and Dr6mi), that the asir were able to restrain him, although not without a fight.
Fenrir refused to try on another fetter as he knew that the dsir were trying to bind
him, so he cunningly said that if he was going to try on the third fetter, one of the
gods needed to lay his arm between his jaws. None of the gods were brave enough
to do this until Tyr stepped forward and laid his arm in Fenrir s mouth. As Gleipnir
was too strong for Fenrir, he bit Tyr s hand off. The gods then laughed and took the
chain which was attached to the fetter, called Gelgja, and imprisoned Fenrir on the
island called Lyngvi in the midst of the abyss called Amsvartnir. Lastly, they put a
sword between his jaws so he could not snap and bite, and from there on Fenrir
bayed horribly and stayed there till Ragna Rok.

1 Note that it is said nine worlds,
not the ninth world: «niu hei-

skAldskaparmal

: r. / :.::eG. ':.;j

!■ - - *

KAFNA*ULUR

In chapter 37 Gullveig is brought up again as the giantess Aurboda, Gymir s wife
and mother to GercJr. Here Snorri narrates a short version of the Skirnismdl found
in Scemundar Edda.

Chapter 49 is about Baldr s death; here Snorri allegorizes Gullveig as Hyrrokin
(spelt "Hyrrokkin" by Snorri), as she comes riding on a giant wolf with snakes for
bridle, «en er hon kom (Hyrrokin) ok reid vargi ok hafli hoggorm at taumum,pd hljdp
hon afhestinwn». The wolf is so big Snorri calls it a horse, hestr. This short Gullveig-
episode is about the time when Hyrrokin helps the dsir to put Baldr s funeral ship
into the water as the giantess of the eastern storms.

A Snorra Edda- Study on Gullveig

g as the Old One who
L that she is there mothering
as derive.

lis time by name, Angrboda.

ha a ir. : - e children with Loki :

: HeL However, when

idmr and that the prophecy

Knld :nng great misfortune

this was, considering

-giants ), OcJinn ordered

9 he cast the serpent into the

all of the land and bit

Odinn gave her the

.r they bound with

jc artalfaheimr, not by the

third fetter, which was called

h broke were called Laedingr

ilmough not without a fight.

isir were trying to bind

: h: :d fetter, one of the

r the ^ :. < were brave enough

arir s mouth. As Gleipnir

ien laughed and took the

rod imprisoned Fenrir on the

uur irtnir. Lastly, they put a

Jid horn there on Fenrir

skAldskaparmAl

The only time Gullveig is mentioned in Skdldskaparmdl is amongst the Porsken-
ningar where she is named as Hyrrokkin, as one of the giantesses that Eorr had killed.

NAFNAI>ULUR

Under the label Trollkonur, for giantesses, Hyrrokkin is named. No other Gullveig
name or epithet known by me is in this list.

rates s Aurboda, Gymir s wife
rsion ot the Skirnismdl found

* ; r. :es Gullveig as Hyrrokin
1 a giant wolf with snakes for
?ggorm at taumurrijpd hljop
rse. hestr. This short Gullveig-
sir to put Baldr s funeral ship

Gullveigarb6k

^fni

viwsjman

A MYTHOLOGICAL SURVEY AND A SUMMARY OF
THE UNDERWORLD

Before I get into the study of Hel and her mother, and their underworldly aspects
and connections; I would like to clear up what the underworld in the ON mythology
looks like and what it holds, as a result of my own heavy research on the subject.
This is a very complex task because the poor sources of the ON mythology don t
leave us much information about the cosmology and the underworldly geography;
most of the knowledge has been lost. This has a negative effect, which results in
many bad interpretations. There are several underworld-hypotheses and mere per-
sonal opinions made out of neglect and indolence out there which I believe to be
erroneous. So I will here bring up the sources that we actually have and analyze
them from my point of view.

As we are today sitting in the shadows of our forefathers' knowledge, I feel its
important to bear in mind that the Christian distortions in the process of putting
the Old Norse oral sagas and mythology into writing and all the attempts in trans-
lating have affected the view of the underworld greatly. As we now know, scripts
were a Christian tradition and Christianity brought the importance of writing and
documentation to Scandinavia in the middle ages. The Old Norse people didn't re-
ally write down mythology and sagas until the early middle ages, but before that
the people carved memories of the their dead and beloved ones, and even fractions
of mythological events, but not long mythological descriptions like in the Eddas.
For example, the Samundar Edda was collected as several individual hand- writings
and then later transcribed into the book Codex Regius approximately two hundred
years after Scandinavia had been christianized. This worries me a lot, so I have de-
cided to try to see through the assumedly christianized versions of our Old religion
and mythology, and get the true understanding and view of our ancestors. However,
this is almost impossible without any other references, and there are none. So in-
stead of trying to fantasize my own "thought-up" version of the underworld - which
is not my intention (I am only after the truth) - 1 keep the Jidda-references and out
of them try to see what dwells behind the lines.

Initially, there were
dberg the primary one
this "upper" Jotunheimi
Scandinavia, beyond the
North Pole. The current
Elivagar; one of the e.

The deer is
which in Herjafodr's

•-,

from his horns -
it is fro~

It might even have
the northern regions ofjoti
lands around it ( which m
northern islands of Nonn
have been the m: > : :
zrergthatinj
leads down to Mirr m
m to the underworlds
mnheimr in Mid*.-
- guming: « a i : ' i£ m .
aid to the north lavs Hekm
mordr, north lays the path
tlogy called

N theu

cosmic history,
-

and their
die sagas the main-ta

17. 1 :."s: -IT.

■qptayto mc is Ac

1: it holds the

Undirheimar

LARY OF

i their underworldly aspects
in the ON mythology
earch on the subject
OX mythology don t
erworldly geography;
ffect, which results in
> theses and mere per-
.■mich I believe to be

*e actually have and analyze

■-^ a

bathers knowledge, I feel it's
in the process of putting
i„ the attempts in trans-
c we now know, scripts

rtance of writing and
: r .- Norse people didn't re-
rr..zi.z ages^ but before that
pwcd nes, and even fractions
; > : : . uons like in the Eddas.

—

sral individual hand-writings

approximately two hundred

:~":> me a lot, so I have de-

1 versions of our Old religion

our ancestors. However,

md there are none. So in-

» of the underworld - which

le Edtia-references and out

Initially, there were two Jotunheimr, Jotunheimar in plural 1 , and according to Ry-
dberg the primary one in the sagas was the one in the middle world, MidgarcJr; and
this "upper" Jotunheimr was said to be located in the furthest north and east of
Scandinavia, beyond the icy Arctic Ocean which delimits Scandinavia from the
North Pole. The current which runs there was probably looked upon as waters from
Elivagar; one of the eleven rivers, as it is told in Grimnismdl 26:

The deer is named Eikjjyrnir,
which in Herjafodr's halls stood and gnawed on Laera(3r's

branches;

from his horns Hvergelmir's water poured,

it is from where all waters spring.

It might even have been the river Gjoll 2 . This means that
the northern regions of Jotunheimr were the North Pole and
lands around it (which might have been including some
northern islands of Norway), and the eastern parts might
have been the most northern part of Russia. It is said by Ry-
dberg that in Jotunheimr in MicJgardr there is a cave that
leads down to Mimir s underworldly land. The entrance
down to the underworld was in all probability located in Jo-
tunheimr in MicJgardr. Hence the classic direction in
Gylfaginning: «en nidr og nordr liggr Helvegr», "downwards
and to the north lays Helvegr", that is to say; nidr, east, and
nordr, north, lays the path to Hel (see my chart of the ON
cosmology called Heldrasill in the appendix.)

Now, the underworld embodies a great deal of powers
and cosmic history, and it is hard for me to accept the reason
as to why it has been pretty much put aside while the upper
worlds and their inhabitants have been in focus. If one reads
the sagas the main-focus lays on MicSgarcJr the home of hu-
mans and gods, and Asgardr the home of the dsir. Vana-
heimr and the underworld have been put aside. This is a
mystery to me as the underworld holds the very foundation
of it all; it holds the sources of the cesirs strength and knowledge - even the dsirs
treasures and weapons are said to have been made by dwarves (ON dvergr), and
dwarves were seen in the earlier times as a giant-race living in the underworld; e.g.
Svartdlfaheimr. Clive Tolley says "Dvergar were underworld, deathly beings, most
nearly akin to giants (though they are distinguished from them).'' 3 Dwarves were

1 For example, the saga Prym-
skvida in Samundar Edda
continuously mentions "Jotun-
heimar" as in manifold homes
of the giants; here's just a few
examples from its contents: (5)
«Flo pd Loki, jjadrhamr dundi,
unzjyr titan horn dsagarda okfyr
innan kom jotna heima», "and
he came within the
homes/worlds of the giants", (7)
«Hvi ertu einn kotninn tjotun-
heima?», "Have you come
alone to the homes /worlds of
the giants?", (12) «vit skulum
aka tvau i Jotunheima» , "the
two of us shall go to the
homes/ worlds of the giants",
and (13) « ... efek ek medpir i
Jotunheima», "...if I go with
you to the homes/worlds of the
giants." Vbluspd (8) also men-
tions "Jotunheimar" as in man-
ifold giant homes; «uns prjdr
kvdmu pursa meyjar dmdttkar
mjok 6r Jotunheimum» , "from
the homes/worlds of the
giants."

2 Gylfaginning.

3 Tolley, 2009, Shamanism in
Norse Myth and Magic.

Gullveigarb6k

smaller than regular giants but tall as full-grown trees compare to humans. This is
where it got misunderstood in later times and dwarves became some kind of midget.
The importance of the underworld is shown by the ON people allegorizing the
world tree; the roots where the tree gets its nourishments are placed in the under-
world, and the "foundation" where the tree is sprung from and rests upon is the
black soil of the underworld. The roots stretch far apart so the tree can grow much
in height and width. Snorri tells us that one of the roots is leading up to Asgardr,
the world of the <zsir which lies in the crown of the Yggdrasill. How Snorri gets this
to work is a big mystery to me.

The above brings me to a very key point: according to the ON people everything
sprung from Ginnungagap in Chaos; Ginnungagap held the worlds Niflheimr and
Muspellzheimr, and when they grew so big that they collided; both elements of
these two worlds created water which streamed into the cosmos as an invading cur-
rent from which everything in the cosmos was created - and it is those two principal
worlds, Niflheimr and Muspellzheimr, which the underworld is built upon; which
is to say Niflheimr and Muspellzheimr lie in Chaos.

The underworld is an entity consisting of two worlds called Jotunheimr and Hel-
heimr. The world of the dead, Helheimr, stretches deep down into the underworld,
all the way down to the lowest pits of the abyss where Chaos once opened up (Gap
Ginnunga). One could actually die in the underworld, it was called "to die out of
Helheimr". Snorri says that only the worst spirits reached the depths of Niflheimr.
This view upon Niflheimr must have been an outcome of a Christian influence. Al-
though, at the same time this testifies of how to transcend unto Chaos. Much like
the Chaos-Gnostic belief, this shows that rebels, outlaws and Satanists - the Old
Scandinavian umbrella term for this is vargr - would be free to walk on the north-
east path of the dead, Helvegr, down throughout the underworld into the deepest
pit and then to transcend unto Chaos into the world of the rime-thurses, and finally
arrive at the wintry lands of Niflheimr. This way of dying was looked upon as a pun-
ishment, by Snorri s account, but for a follower of Thursatru and Gnostic Satanism
this is a goal.

So the worlds which everything sprung from are also the worlds everything
comes back to, "the womb and the tomb." This might be the reason why thurses
have been looked upon as terrors and antagonists, because they are already "dead"
and have really nothing to fear, they are already very old (old age was what the cesir
dreaded the most); the "old age" was an allegory for their fear of emerging into the
worlds of the giants: to "die", to descend and transcend, and be among the rime-

thurses. The fearlessness of I
warriors, and the main ke
Death was an honor for the
honors in their opinion -to
did not raid for their countr
tiny over anything.

This is told in Grim

At first this stanza left

— :t the three roots i _ :o

- eum* and the rime-thurses
many weeks in front
from all others I've cornea
Jotunheimr and Helheiim.
boned several times to be
toot leads to humankind
-; : ii.Tilges: that h'-irr
when the worlds w b
Nfmusheimr. t t« a
third root leads to \Irmi$t*

underonercjtii

my opinion, it was
ot which leads to th
that both
worid. See

Undirheimar

>are to humans. This is
iTT! ; some kind of midget.
»N people allegorizing the
are placed in the under-
- ~ and rests upon is the
so the tree can grow much
leading up to Asgardr,
How Snorri gets this

thurses. The fearlessness of the thurses though, was actually adopted by the Viking
warriors, and the main key to their success in battle was their lack of fear of death.
Death was an honor for them: to die in battle was a free ticket to the mightiest of
honors in their opinion - to come to Valholl as a warrior for OSinn himself. Vikings
did not raid for their country or king; they upheld their gods and their spiritual des-
tiny over anything.

ON people everything

:~ -„ rorlds Xiflheimr and

ded, both elements of

as an invading cur-

: is those two principal

d is built upon; which

This is told in Grimnismdl 3 1 :

Jotunheimr and Hel-
down into the underworld,
s Cluos once opened up (Gap
called "to die out of
ckec tne depths of Niflheimr.
*e of a Christian influence. Al-
- - . : unto Chaos. Much like
tLr-.'f and Satanists - the Old
I be free to walk on the north-
j underworld into the deepest
: : : - - rime-thurses, and finally
~r. =: /as looked upon as a pun-
ursatru and Gnostic Satanism

■e also the worlds everything
be the reason why thurses
ecause they are already "dead"
o I d old age was what the dsir
their fear of emerging into the
and be among the rime-

Three roots in three ways

out from the ash Yggdrasill.

Hel lives under one,

under the second one the rime-thurses,

and under the third the humans.

At first this stanza left me with much frowning and scratching in my beard. It says
that the three roots lead to 1 ) Hel who lives by UrSarheimr/Urdarbrunnr, 2) Nifl-
heimr and the rime-thurses, and 3) mankind. After many weeks behind books, and
many weeks in front of my altars, I have come to an understanding which differs
from all others I've come across. The underworld is not split into three, but in two;
Jotunheimr and Helheimr. They cannot dwell in each other because they are men-
tioned several times to be each a world (heimr). Why Grimnismdl says that the third
root leads to humankind is most likely a sentence referred to what Vajprudnismdl
45 divulges; that humans get stashed away in Mimir s abode. This stanza hints to
when the worlds will burn by Surtr's wrath and the humans in Mimir 's abode,
Mimisheimr, will survive and procreate. So what Grimnismdl really says is that the
third root leads to Mimisbrunnr in Jotunheimr. And why Grimnismdl says that Hel
lives under one root is just a way of saying that the first root leads to Helheimr, and,
in my opinion, it was imagined that Urdarbrunnr dwelt in Helheimr. Finally, the
root which leads to the rime-thurses is meant to be Hvergelmir in Niflheimr, and I
believe that both Niflheimr and Muspellzheimr lay in Chaos; beyond the under-
world. See my chart Heldrasill in the appendix.

GULLVEIGARBOK

Gylfaginning says:

Three roots of the tree uphold it and are reaching far apart. One is among the yEsir,
another among the rime-thurses, in that place where the beginning of time was

called Ginnungagap; the third stands over Niflheimr, and under that root is

Hvergelmir, and Nidhoggr gnaws the root from below. And under that root which

belongs to the rime-thurses is Mimis Brunnr, wherein wisdom and understanding

are stored. And he is called Mimir who keeps that well. He is full of wisdom...

I interpret Snorri's words as his will to make the ON religion and mythology into
the Christian one: Heaven - Earth - Hell. It is known that Snorri had this intention,
so his details about the underworld are more of a Christian hellish nature, which
does not correspond with the primitive ON mythology.

1 The word "Hell" derives from
the Old Gothic word halja
which meant underworld. And
it was borrowed by the Scandi-
navian languages: the Old
Norse and Icelandic word hel -
in Swedish the word helvete
comes from the Old Norse
term Helviti, same goes for the
Danish word helvede (OSw.
halvite, Isl, helviti, "the kingdom
of the dead" or "Hel's punish-
ment or inferno".)

Niflheimr is the dark and misty place which was later in-
spired by the Christians inferno called Hell 1 . For Snorri, this
underworldly dark place has all kind of horrors, and it has
something the Old Norse people called "pits of suffering";
rivers with sharp blades in them. Blood-soaked Garmr lives
there and feeds on human flesh, and in the deepest tracts of
Niflheimr, where Hvergelmir s eternal depths begin, Nidhoggr
and his black dragon-spawn dwell.

Rydberg explains that in the beginning of time it was here
where Niflheimr was located in Chaos. At the same time he
allegorizes Nidaijoll as the dark horrible mountains in the cen-
ter of the underworld that separate Helheimr from Niflheimr,
but he also claims that NicJafjoll belongs to Niflheimr, which means that, according
to Rydberg, Nidafjoll - Mimir - Mimisbrunnr is not a neutral region in the under-
world, but belonging to the dark and cold world of Niflheimr and its rime-thurses.
How is it possible that Mimir s wonderful and peaceful regions belong to Niflheimr s
world? He obviously bases his understanding on both the Scemundar Edda and the
Snorra Edda, which are totally different and just makes his theories confusing and
self-contradictory. Snorri evidently changed the whole cosmology by freely moving
Urdr and UrcJarbrunnr s realm to heaven, and let Helheimr become the whole of
the underworld, and made it equal to Christianity's Hell. Gylfaginnings author did
all this without even considering that this would have severe consequences in the
mythology. The underworld before this dramatic change was partly a place of peace
and tranquility, but after Snorri s ruthlessness it became just a place of death and
anguish.

In my studies I've n
used once in the Samund*
are written about extens
This seemed strange to
and over I realized that
the concept undirheim.
was the world of the d
world called Helheimr (
fore more dramatic p
into) the underworld:/)
fara til Heljar ogpadan i
... 2 at solum Heljar { Yohtsp
tara til heljar hedan { r
ning), and i j0rd nidr* ( Gy$

ON Jermungrundf tr
World, found in Grim>-Asm
void: a reversed and bigge
The underworld was the fac
and the demiurgic gc
his own abode outside the

The following hypo thes
really one reason for
die, your spirit goes there
i : the funeral in your erawr
mg the funeral rite. '

fcc; this can be explained
has been disconnected wri

n its turn became tricked
i es not ( hence the --
istence stay with you like a
you believe that you har
Niflheimr, Le, beyon i the
ur spirit becomes free a
I said earlier, in the under*
: : : : and it is to : r. . : r. _

Undirheimar

e s among the/tsir,
ginning of time was
.. ~der that root is
~der that root which
and understanding
s full of wisdom...

n and mythology into
rri had this intention,
hellish nature, which

which was later in-

Hell 1 . For Snorri, this

of horrors, and it has

"pits of suffering";

?aked Garmr lives

and in the deepest tracts of

epths begin, NicJhoggr

egir ^ of time it was here
At the same time he
mountains in the cen-
ts Helheimr from Niflheimr,
which means that, according
neutral region in the under-
Jh e ~ : and its rime-thurses.
: ns belong to Niflheimr s
the SzmundarEdda and the
theories confusing and
cosmology by freely moving
r.z.-rr become the whole of
efl. Gylfaginnings author did
ere consequences in the
$e was partly a place of peace
ne just a place of death and

In my studies I've noticed that the OI word undirheimar, underworlds, is not
used once in the Scemundar Edda or Snorra Edda. The underworld and its homes
are written about extensively but not once is the OI word for the underworld used.
This seemed strange to me in the beginning, but after going through the sagas over
and over I realized that the poetic language used in the sagas embellishes the use of
the concept undirheimar, and the underworld that concerned the human beings
was the world of the dead, a specific location in the under-
world called Helheimr (often shortened just to Hel), there-
fore more dramatic phrases were used for (the descending
into) the underworld: fyr ndgrindr nedan 1 (Skirnismdl 35),
fara til Heljar ogpadan iNiflhel (Gylfaginning3),fyrj0rd nedan
... 2 atselum Heljar (Veluspd 43), a helvegum 3 (Veluspd 47),
fara til heljar hedan (Fdfnismdl 10), nidri {jerdu (Gyflagin-
ning), and ijerd nidr 4 (Gylfaginning) .

1 Below the gate of the
dead/corpses.

2 Under the world.

3 On Hel's paths.

4 In under the earth, meaning
into the underworld.

ON Jormungrund, the vast earth, is another name for the underworld, the Other
World, found in Grimnismdl 20. The underworld was seen to be an immeasurable
void: a reversed and bigger version of the universe, but with a different function.
The underworld was the first void which sprang from Niflheimr and Muspellzheimr,
and the demiurgic god OcSinn created the universe with his brothers as he wanted
his own abode outside the Giants' worlds.

The following hypothesis comes from a vision I received in a dream. There is just
really one reason for a human being to go to the underworld, and that is when you
die, your spirit goes there with certain chosen objects which are burned with you
at the funeral in your grave; the objects' essences become connected with you dur-
ing the funeral rite. When you descend into the underworld you still have your body
etc.; this can be explained by saying that all cosmic life is an "illusion": your spirit
has been disconnected with your ego and thereby blinded from your true self, and
in its turn became tricked into actually believing having a body; which in reality it
does not (hence the illusion). In the underworld the remnants of your former ex-
istence stay with you like an echo from the past, and once reborn in the underworld
you believe that you have a physical body again. It is only when you transcend unto
Niflheimr, i.e. beyond the underworld and unto Chaos, that the illusion ends and
your spirit becomes free again and you are able to open your blinded true eyes. As
I said earlier, in the underworld there is only one place for the spirit of a dead human
to go and it is to the world of the dead; Hel's secondary home, Helheimr. All other

GULLVEIGARBOK

worlds and space in the underworld belong to divinities and such, e.g. pursar and
j0tnar. Much like our reality and universe, the humans only live in a small part of
the universe, the earth; the rest belongs to other powers and life-forms.

So this is why the poets did not use the OI word undirheimar for the under-
world^) in the ON poetry but rather different forms of the phrase "Hel 's dominion
in the underworld." The most common phrase used for this in the ON sagas was
"go to Hel" but in a wide variety (see examples above), meaning "for a human spirit
to descend into one definite location in the underworld." It was common knowledge
in ancient Scandinavia that we humans only went to one specific place in the un-
derworld: Helheimr.

As a devotee of Hel and the rime-powers of Niflheimr, I personally see the tran-
scendence unto Niflheimr as an honor and goal, not a punishment. I also see the
rather young concept of Helviti as a gift, rather than the twisted theory that it would
have anything to do with a penalty. I believe that Helviti could be something like
the Hellenic tradition to pay coins for being transported to Hades, as Styx and Cer-
berus could easily be compared to Gjoll, Helvegr and Garmr.

MY UNDERSTANDING AND CONCLUSION

(Please look at my chart of the ON cosmology called Heldrasill in the appendix
while reading this text).

Somewhere in the midst of Chaos, the endless black ocean of tranquility, lies a
small intruding creation called the cosmos, OI Allheimr. It is a sphere with a collec-
tion of worlds within it. In the ON mythology and belief
the cosmos was allegorized as a tree , a world-tree 1 - with
the crown being the higher realm, the trunk being the mid-
dle realm, and the roots the lower realm. This is a simple
map many other traditions use in this form or another. In
the ON tradition the bottom of the underworld,
undirheimar, is in the east, and the highest peak of the upper world where the high
gods have their domain, AsgarcJr, is in the west. Below on the trunk of the world-
tree lay the middle earth, Miogaror, the world of the humans. To the north/ east of
Midgardr lies the "upper" world of the giants, 0JH Jetunheim, "upper giant-home."
It was probably thought of as being on the border of the underworld, as there is
supposed to be a portal from the upper world to the underworld, and it most likely

1 There has been many disputes
weather it is an Ash-tree or
Yew-tree; in my book it is a
Yew-tree.

lies in the 0JH J»h<
{undirheimar is written
right below the ejri (1
world, the nidri (lower)
well of wisdom which ■
root of the world-tree
Jotunheimr lies the
rveig. The darkness an*
blackness and rime-oo
vidr in the north-east

shores of Hvergelmii
Chaos and undirhdmar^
eleven rivers. The midi
of wisdom which is
leads to the South e
world j the world of the di
well, Urdarbrunnr. Un<k
Muspellzheimr - beyond
heimr and MuspelMnlJ
of Chaos; Ginnungag^p.

There are three wor.
that they have no part in
Alfheimr are suppc
underworld.

Undirheimar

ies and such, e.g. pursar and
is live in a small part of
its and life-forms.

xdirheimar for the under-

: ifc i : nrase "Hels dominion

- in the ON sagas was

. meaning "for a human spirit

k was common knowledge
one -rerific place in the un-

personally see the tran-

. I also see the

- theory that it would

:ould be something hke

sd to Hades, as Styx and Cer-

Gsmr.

ieldrasill in the appendix

j: ; ;ean of tranquility lies a

r. It is a sphere with a collec-

N* mythology and behef

a tree , a world-tree 1 - with

Im. the trunk being the mid-

jwer realm. This is a simple

d this form or another. In

I m of the underworld,

-r rer world where the high

r on the trunk of the world-

-~ To the north/east of

mham, "upper giant-home."

the underworld, as there is

tderworld, and it most likely

lies in the ofri Jotunheim. The underworld starts at the world-trees roots
(undirheimar is written in plural because it is not one world but two); to the north,
right below the ejri (upper) Jetunheim, lies the underworldly version of the giant-
world, the nidri (lower) Jotunheim. In the world of the giants, Jotunheimr, lies the
well of wisdom which is known as the well of Mimir, Mimisbrunnr. The northern
root of the world- tree leads to Jotunheimr and Mimisbrunnr. At the north/east of
Jotunheimr lies the infamous Ironwood, Jarnvidr, the dark and cold dwelling of Gul-
lveig. The darkness and coldness of the Ironwood comes from Niflheimr s chaotic
blackness and rime-ocean storms, as Niflheimr lies right under Jotunheimr and Jarn-
vidr in the north-east beyond the realm of undirheimar in Chaos. However, the
shores of Hvergelmir called the icy waves, Elivagar, lies on the border between
Chaos and undirheimar, and its poisonous icy waters intrude the underworld as
eleven rivers. The middle root of the world-tree reaches all the way down to the well
of wisdom which is known as Hvergelmir in Niflheimr. And the third root which
leads to the South ends up in Helheimr, which is the second world in the under-
world; the world of the dead. The root leads to its well of wisdom known as Urdr s
well, Urdarbrunnr. Under Helheimr to the South-East lies the world of flames,
Muspellzheimr - beyond the realm of undirheimar in Chaos. Lastly, between Nifl-
heimr and Muspellzheimr remains the primordial black portal, the once gaping jaws
of Chaos; Ginnungagap.

There are three worlds that I have not included; the only reason why I didn't is
that they have no part in this work. In the crown of the world tree Vanaheimr and
Alfheimr are supposed to lie, and Svartalfaheimr is supposed to lie in the
underworld.

GULLVEIGARBOK

SUMMARY

I. Chaos is all, and within Chaos the cosmos lies like an egg.

II. The cosmos holds the world tree and its worlds.

III. The upper worlds are: a) AsgarcJr, b) Midgardr, and c) "upper" Jotunheimr.

IV. The underworld includes: a) Jotunheimr, and b) Helheimr.

V. Jarnvidr (ironwood) is a region in the east/north of Jotunheimr where Gullveig I
(and Fenrir) has her abode under the name Angrboda. I

VI. The three roots lead to the three wells of wisdom: 1 ) Mimisbrunnr, 2) UrSar- I
brunnr, and 3) Hvergelmir. I

VII. Elivagar is Hvergelmir s sea-shore where eleven rivers of Hvergelmir s icy I
water run out. I

VIIL The worlds in Chaos are Niflheimr and Muspellsheimr. They both lie on
each side of Ginnungagap.

The name Hel, gen. Heljar,
hella. Halja is commo
derives from the Latin woi
nate with occultum, a r
could be allegorized as a gi
the worlds", or a div.
not a place of sufferi *, r.
everybody descended into
and the underworld as the
also many different purpos
equal suffering and Hthiti
Hel could not simp, b r
that is why the earliest C hri
ifll/a for Hell instead
the Christians Inferno em
through Scandinavia, the <
turned into a monotheistii
ON belief, but kept fragrra
religion was. That s
their burning undenvorid i

Hel - In Svarta

an egg.

id c) 'upper* Jotunheimr.

rieflieimr.

dot Totnnheimr where Gullveig
•da.

boh 1 Miiiiisbrunnr, 2) Urdar-

BPHi nvers of Hvergelmirs icy

heimr. They both lie on

( lnl5 l v<ttfc*

The name Hel, gen. Heljar, derives from the Gothic word halja, Old High German
hella. Halja is commonly translated to "underworld" and according to Rydberg it
derives from the Latin word occulert) to conceal, preserve, which in its turn is cog-
nate with occultum, a hidden place. Indirectly it suggests a place in darkness, which
could be allegorized as a grave, cave, and of course something undir heimar, "under
the worlds", or a divinity from such a place. Hel as a term for the underworld was
not a place of suffering in the early ON religion; it was another dimension where
everybody descended into after death. The ON religion was a polytheistic religion
and the underworld as the upper world had many ruling divinities, and therefore
also many different purposes. Your death and descent into the underworld did not
equal suffering and Helviti; it gave you another sublime opportunity of existence.
Hel could not simply be compared to Gehenna and Tartarus, or Hades and Sheol;
that is why the earliest Christian Bible in a Germanic language used the Gothic word
halja for Hell instead of the ON Hel, as the ON concept Hel did not represent what
the Christian s Inferno embraced. But when Snorri s Gylfaginning-s&ga. was spread
through Scandinavia, the ON underworld-belief was quickly deviated and slowly
turned into a monotheistic belief. Christianity was quick in defiling all good in the
ON belief, but kept fragments of it to make an example of how bad that old heathen
religion was. That's why they kept the ON term helviti and turned it into a word for
their burning underworld inferno Hell: Swedish and Norwegian Helvete and Danish

Gullveigarb6k

Helvede. The new traditions in Scandinavia saved a few more terms connected to
Hel to point out a negative tone around Hel, for example the ON saying i Hel,
roughly translated into "to death" (with the notion death as the world of the dead),
which is still kept in modern Swedish; ihjal, to beat or starve someone to death etc.;
OI drepa iHel, "to kill".

Hel, the black giantess - 1 call her bldrdma and svartheidr - is one of the most
complex and challenging characters in the ON mythology. Her role in the sagas and
the belief is to rule the world(s) of the dead - Helheimr, and also Niflhel-Niflheimr.
There is not much said about Hel's characteristics in Samundar Edda; it is Snorri s
inspiration of the Christian mythology that first describes Hel's appearance as the
giantess of the dead. Gylfaginning describes that Hel was cast down into Niflheimr
by Odmn and made her the ruler of nine worlds. Gylfaginning 34:

Hel kastadi hann i Niflheim og gaf henni vald yfir nlu heimum, ad hun skipti ollum

vistum med beirn er til hennar voru sendir, ^ad em sottdaudir menn og ellidaudir.

Hun a par mikla bolstadi og em gardar hennar forkunnar hair og grindur storar.

£ljudnir heitir salur hennar, Hungur diskur hennar, Sultur knifur hennar, Ganglati

j^raellinn, Ganglot ambatt, Fallandaforad fireskuldur hennar er inn gengur, Kor saeng,

Blfkjandabol arsali hennar. Hun er bla half en half med horundar lit. t>vi er hun

audkennd og heldur gnupleit og grimmleg.

# * *

Hel he cast into Niflheimr, and gave to her power over nine worlds, to apportion all
abodes among those that were sent to her. That is, men dead of sickness or of old

age. She has great might there; her walls are exceedingly high and her gates
great. Her hall is called Eljudnir; her dish, Hungur; Sultur is her knife; Ganglati her
thrall; Ganglot her maidservant; Fallandaforad her threshold, by which one enters;
Kor her bed; BKkjandabol her bed-hangings. She is half blue-black and half flesh-
color, by which she is easily recognized, and stooping and grim.

Evidently she was "doomed" to live in Niflheimr, which in itself holds Niflhel,
due to her powerful character and adverse temper towards the dsir, a rime-thursian
giantess - daughter of Gullveig and Loki. As for Hel as a realm, Helheimr, it could
be understood in several modern sources that Hel equals the whole underworld,
so what is the difference between Hel, Helheimr, and Niflhel? After I've been re-
searching this in the ON literature I found that Hel later became synonymous with
the underworld as an outcome from negligence to specific aspects. Much like the
ON noun helviti, "Hel's punishment" or "the fine of Hel", was a concept that got
twisted around by the same kind of negligence, and helviti became the modern word
for the Christian Hell, Jewish Gehenna, and Hellenic Tartaros. This is not a rare

phenomenon, it actual!
to say with this is that
ning synonymous with He
alone; in its primitive fc

...I went all the wa>

The underworld all tog
undirheimar, the under wo
region which contained se
modern and common and
name of a realm is just an ej
ones, which hold the dead,
itive and correct form for 1
world of the dead located u
Xiflhel for the realm of die
entities but strongly intern
arate heimar (worlds) is to]
- owever what a big j
and descend unto Xiflhel
and descend unto the und
but it strengthens my d
underworld and Helheaat

Xow, exactly how Ni
a thorough invest!
relieve the name Niflhel

: the epithet for Hel i
heimr, which has with
iead in the world of

I epithets helvitistmrkr,
bUr (bldr sent Hel 1>
because it denotes the O

was before the
Scandinavia with the C
half white to stress the
bad one), compared to
.c2>: four locations for

more terms connected to

7 e the ON saying i Hel,

:=ir. i> the world of the dead),

?iir .'•: someone to death etc.;

- - is one of the most

Her role in the sagas and

; also Niflhel-Niflheimr.

Sxmundar Eddw, it is Snorri s

r Hel s appearance as the

down into Niflheimr

jfemmng 34:

. -eimum. ad hun skipti ollum

menn og ellidaudir.
hair og grindur storar.
knifur hennar, Ganglati
er inn gengur, Kor saeng,
ned horundar lit. t>vi er hun
eg.

- ~e .'*orids, to apportion all
kt :ead of sickness or of old
ledingfy high and her gates
_:_■ s her knife; Ganglati her
by which one enters;
: ^e-black and half flesh-
stooping and grim.

which in itself holds Niflhel,
iwards the asir; a rime-thursian
J as a realm, Helheimr, it could
equals the whole underworld,
Niflhel? After I've been re-
became synonymous with
c aspects. Much like the
of Hel was a concept that got

twri became the modern word
c Tartaros. This is not a rare

Hel - In Svarta

phenomenon, it actually happens all the time, even in modern times. What I want
to say with this is that the name Hel, for the realm of the dead, was from the begin-
ning synonymous with Helheimr and Niflhel as a location of the dead in Niflheimr
alone; in its primitive form, as Vafyrudnismdl 43 informs:

...I went all the way down to Niflhel, where the dead who have died out of Hel

dwell.

The underworld all together was from the beginning only seen as and called
undirheimar, the under worlds (note plural). However, with time the whole lower
region which contained several worlds became the region of the dead; hence the
modern and common understanding of the name Hel. So in my opinion, Hel as a
name of a realm is just an epithet for a collection of certain worlds, such as the lower
ones, which hold the dead. From this hypothesis I chose to use Hel only in its prim-
itive and correct form for the giantess and daughter of Gullveig, Helheimr for the
world of the dead located in the underworld (undirheimar) not being its equal, and
Niflhel for the realm of the dead in Niflheimr which lies in Chaos - three different
entities but strongly interlinked. The fact that Helheimr and Niflhel were two sep-
arate heimar (worlds) is told in Baldrs Draumar 2 and Vafprudnismdl 43; this shows
however what a big difference it existed between them. To "die out of Helheimr
and descend unto Niflhel testifies of the similarity to when you "die out of Midgardr
and descend unto the underworld. How exactly this functioned the sagas do not
say, but it strengthens my theory that Niflhel/Niflheimr lays in Chaos - beyond the
underworld and Helheimr.

Now, exactly how Niflheimr and Niflhel were separated we don't know, so after
a thorough investigation on this subject I take them for being one and the same; I
believe the name Niflhel just emphasizes the deathly aspect of this realm, because
of the epithet for Hel as the ruler in Niflheimr. To me, Nifl-Hel means Hel of Nifl-
heimr, which has with time become an epithet for Niflheimr too, the home of the
dead in the world of mists and darkness. Compare this to the
OI epithets helvitismyrkr, "the darkness of Hels fine", and Hel-
bldr (bldr sem Hel) 1 , "black as Hel". The last one is interesting
because it denotes the ON people s view upon Hel the giantess;
this was before the stagnant and dualistic thinking came to
Scandinavia with the Christendom, where Hel became allegorized as half black and
half white to stress the new religions dualistic view upon death (a good one or a
bad one), compared to the primitive pluralistic ON perspective where you had at
least four locations for the dead. Some people claim that it represents the moon

1 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary.

Gullveigarb6k

phases. I myself reject this whole allegorization of Hels appearance being half black
and half white, I think it degrades her totality as a mighty thursian rime-giantess.
Hel was initially looked upon in Old Scandinavia as a black and livid hue 1 repre-
senting the pure blackness and cold of Niflheimr and death. This

1 Cleasby-Vigfiisson, 1874, An
Icelandic-English Dictionary.

is very interesting as she is the ruler of Niflheimr and is allego-
rized as black, and the ruler of Muspellzheimr, Surtr, is called
the black-headed one, Svartheflfi. In addition to this I want to
mention that I suspect that Helheimr and Niflhel were looked upon, in medieval
Scandinavia, as being the entire underworld split in two; the bright one and the
dark one - hence Hels late appearance as half white and half black, representing
just this (nifl is generally translated into mist or darkness). Helheimr is located above
Muspellzheimr and its heat, and Jotunheimr, which by this hypothesis must be ex-
changed with the medieval view upon Niflhel, is located above Niflheimr with its
cold and darkness; which could have been allegorized as Helheimr was green and
summery because of Muspellzheimr s warmth, and Niflhel dark and cold by Nifl-
heimr s gloomy condition (see chart in appendix). This is probably how Snorri saw
it. There is no proof of this though; this is just my own interpretation. But with the
medieval Scandinavians' turning to the monotheistic religion, dualism infected their
whole world-view, and this is exactly how the primitive ON religion withered into
oblivion.

Niflheimr is proven to lie in Chaos, which means that according to Gylfaginning
34 Hel descended into the underworld and transcended onto Chaos (beyond the
underworld). This is again a hypothesis which I do not agree with; I believe that
Hel never ended up in the care of the cesir in the first place, but stayed in Niflheimr
the whole time. She was born there from Gullveig s womb of darkness and there
grew into the icy thursian power allegorized as Death. I strongly believe that Hel as
the ruler of the dead has always been seen as the "black hue" in the deepest gape of
the underworld; the part which belongs to Chaos. Gullveig is the mightiest and
highest of all the thursian giantesses, and her daughter Hel is the second most pow-
erful thursian giantess, so according to this genealogy sprung from Chaos and Icy
Darkness (hrimmyrkr), Gullveig is called the Old One and Hel is thereby the
Younger One - which in its turn makes Hel a Chaos-giantess. By her mighty power
and her place next to Gullveig she can rule the whole underworld and nine worlds
from her black throne in Chaos. However, as a result of Gylfaginning, Hel is in gen-
eral seen as a manifestation and personification of the entire underworld, under-
stood as a realm of the dead by many of the modern mythologists; a hypothesis
which cannot be accurate as Hel is not the sole ruler in the underworld. She is not
even the sole ruler of the dead; the giantess Ran for example swallows the dead that

have drowned, and I dc
queen of the dead with the
She swallows them and id
letting her guardian Gaim
thursian dog, Hdjarsinr
Fenrir, I believe he is anal
Gullveig and Loki, which
epithet Loka maer, L
"to play with" or "to be tai

Hels siblings were also ;

mich is commonly know
world and holds it in his gj
omous and gigantic dwel
Ragna Rok. Fenrir is the i
the wolfish jaws of nature
Fenrir dwells in the u:
unlimitedly; all wolves ant
are attributed with a heOi
wolfish Devil was called I
med gapandi munn ogcrm.
-. -J ierdu 3 (Gylfagitm

:Ban» 4 (FdfnismtQ 10
Death and her hunger and
OX poetry loved to expr
zddas say for example «/m
and hefir nu Hd» r all sarin
analogy with the wolfish e
( : plains the nexus r : :
Fenrir.

This archetypal trinr
. most powerful Chaos-
Iveig and Loki s attn
especially in Gulr - c. rer

It is partly conru
confirmed to be the daugfe
of Helheimr and "

100

Hel - In Svarta

earance being half black

igbtv thursian rime-giantess.

i b ick and livid hue 1 repre-

i • iflheimr and death. This

ler of Niflheimr and is allego-

luspeflzheimr, Surtr, is called

. hi addition to this I want to

>ked upon, in medieval

two tne bright one and the

• ar.d half black, representing

Helheimr is located above

hypothesis must be ex-

ibove Niflheimr with its

sd as Helheimr was green and

Shel dark and cold by Nifl-

lis is probably how Snorri saw

n interpretation. But with the

, dualism infected their

OX religion withered into

that according to Gylfaginning
ided onto Chaos (beyond the
r. : : agree with; I believe that
T.i -. but stayed in Niflheimr
amb of darkness and there
l I stronelv believe that Hel as
ick hue" in the deepest gape of
iweig is the mightiest and
•r Hel is the second most pow-
>prung from Chaos and Icy
Ore and Hel is thereby the
giantess. By her mighty power
e underworld and nine worlds
j) Ifaginning, Hel is in gen-
entire underworld, under-
ologists; a hypothesis
n the underworld. She is not
pie swallows the dead that

have drowned, and I don't think it is as simple as that. First off, Hel is a giantess, a
queen of the dead with the particular purpose of guiding the dead and their destiny.
She swallows them and makes sure that they do not return to the upper world by
letting her guardian Garmr, the blood-soaked one, watch over them all. Garmr is a
thursian dog, Heljarsinni, who guards the dead at Helgrindr (some compare him to
Fenrir, I believe he is analogous to Hati). Hel is the daughter of the Chaos-thurses
Gullveig and Loki, which makes Death their invention and apparatus. Hel has the
epithet Loka maer, Loki s daughter; which was also used as a synonym for death;
"to play with" or "to be taken by Loka mar" for example meant to be dead.

Hels siblings were also archetypes of death. Jormungandr is the thursian serpent
which is commonly known as a symbol of death. He encircles the upper or middle
world and holds it in his grip; he is the threshold facing the underworld. He is ven-
omous and gigantic, dwelling in the depths of the sea in wait for the day of wrath,
Ragna Rok. Fenrir is the violent death unleashed and untamed. He is a symbol of
the wolfish jaws of nature that are always hungry and that are always on the prowl.
Fenrir dwells in the underworld together with his mother Gullveig and procreates
unlimitedly; all wolves and werewolves come from him and his mother. The wolves
are attributed with a hellish throat 1 due to their greed, and Bugge wrote that the
wolfish Devil was called lupus vorax 2 ; as in «en Fenrisulfr fer
med gapandi munn og er hinn efri kjaftr vifi himni en hinn nedri
vidjerdu 3 (Gylfaginning Si) and «skal alda hverrfara til heljar
hedan» 4 {Fdfnismdl 10). In symbology the wolf represents
Death and her hunger and greed, swallowing of the dead. The
ON poetry loved to express this in embellished songs; the
Eddas say for example «par erpik Hel kafi, haldi Helpvi er kefir,
and kefir nu Hel», all saying that Hel shall have you. This is in
analogy with the wolfish entity and descent, and thereby self-
explains the nexus between Death and the Wolf, i.e. Hel and
Fenrir.

1 Grimm, Teutonic Mythology.

2 Bugge, 1899, The Home of the
Eddie Poems with Especial Refer-
ence to the Helgi-Lays.

3 "Fenrir shall rise with gaping
mouth, and his upper jaw shall
reach the heaven and the lower
the earth."

4 "Though all people shall fare
hence to Hel."

This archetypal trinity of death, Hel, Jormungandr, and Fenrir, is the spawn of
the most powerful Chaos-giants in the Old Norse: Gullveig and Loki. And it is Gul-
lveig and Loki s attributes that have created these monster-children. This is shown
especially in Gullveig, Fenrir and Hel, and in Loki and his first-born Jormungandr.

It is partly confusing, but at the same time very fascinating and logical. Hel is
confirmed to be the daughter of Gullveig and Loki, also a Chaos-giantess and ruler
of Helheimr and Niflhel/Niflheimr. She is the sovereign of the world of death, she

101

GULLVEIGARBOK

1 Rydberg claims that the giant-
ess Hel is wrongfully called Hel,
that her true name is
Leikn/Leikin due to her necro-
mantic and pestilent qualities.

2 Gylfaginning 34.

3 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary.

is the queen of the darkest underworld and the malady-spirits in the form of a gi-
antess called Leikn 1 . There is not much proof of Leikn s existence, but some very
interesting details are found in Skdldskapartndl 11, which is a list of giants and gi-
antesses killed by I>6rr; it says «leggi brauztpii Leiknar», "you
broke Leikn's legs". Could this be connected to when the c£sir }
presumedly P6rr, threw Hel into Niflheimr (according to
Snorri) and broke half of her body? 2 This might be a direct proof
for their identification as the same giantess. The saga Ynglinga
ted 7 says: «Yngvapj6darLoka mar ofleikinn hefr», "Yngvi whom
Loki's child was playing with". And in Voluspd 22 Leikin is also
mentioned as hug Leikin, not so surprisingly together with the
explanation of HeiSr s black magic or necromancy:

Heidi hana hetu,

hvars til husa kom,

volu velspa,

vitti hon ganda,

seio hon hvars hon kunni,

seid hon hugleikin,

ae var hon angan illrar brudar.

* * *

Heidr her name was,

to houses she came,

the seeress with adequate prophecies.

She wielded witchcraft,

she conjured disease,

she invoked Leikin,

always was she loved

by wicked women.

Hugsteinn, mind-rock
your soul lived within vou
Loki ate Gullveig s heart fa
pregnancy. In these twv:
meaning "inspirited" whic
in this case refers to necro
of "ensouled death'
hugleikin would then mear
the art of her daughter Le :
in Old Norse be called ; H

After I discovered tfc
Rydberg s work from 1 $84
lect (you can compare this
ent lines in Codex Re :

Hug- comes from the ON word hugr, mind, with the notion of thought; hugr can
even by itself mean heart 3 . The word in its overall sense carries the meaning of in-
spirited (with a soul). I like to compare this to the line where Loki is said to devour
Gullveig s heart, which he found among her ashes; Veluspd in skamtna 12:

Loki at hjarta

lindi brenndu,
fann hann halfsvidinn

hugstein konu;
vard Loftr kvidugr

af konu illri;
baoan er a foldu
flagd hvert komit.

The first interesting del
according to Bugge m Cot
kvni could be the ON ne
means monstrous or supa
umein and kynjasott whid
zrrfT Just like my own hy|
past tense of the verb ? : :i.

:• itself: see further Am

under Sida, v. > "... of whi

ON kyn in the Icelanc

magic and witchcraft It m

102

Hel - In Svarta

-spirits in the form of a gi-

existence, but some very

rfakh is a list of giants and gi-

tggi -*'auzipuLeiknar», "you

jonected to when the cesir,

io Niflheimr (according to

> might be a direct proof

le giantess. The saga Ynglinga

'cfkikmn hefr», "Yngvi whom

id in Yehtspd 22 Leikin is also

ismgiy together with the

k or necromancy:

notion of thought; hugr can
carries the meaning of in-
e where Loki is said to devour
; in skamma 12:

Loki ate a heart

burnt upon the embers,

he found the half-singed

heart of a woman.

Loptr was expectant with child

of that wicked woman;

and from this
all monsters derived.

Hugsteinn, mind-rock, is an ON poetic metaphor for heart; it was thought that
your soul lived within your heart, here allegorized as an "inspirited rock" So when
Loki ate Gullveig s heart he got inspirited by her spirit, which in the sagas leads to
pregnancy. In these two examples above I want to put emphasis on hug- and its
meaning "inspirited" which is the foundation of my own hypothesis that hugleikin
in this case refers to necromancy - sorcery dealing with Hel-powers; the wielding
of "ensouled death" which would be the essence of Leikn or Hel. The line seid hon
hugleikin would then mean, as I understand it, that Heicir is practicing necromancy,
the art of her daughter; Leikins black magic. True necromancy could more properly
in Old Norse be called; Heleikinn - NfflTIM r.

After I discovered the true meaning of these lines, I found the same theory in
Rydberg s work from 1886, and he helped me to find even more details on this sub-
ject (you can compare this part to his work.) He points out the two same but differ-
ent lines in Codex Regius' Vetluspd, which says:

seid hon kvni
seijp hon leikin

The first interesting detail is that kvni here is spelt with a V and not a "w", and
according to Bugge, in Codex Regius "v" is used for both "w" and "v". This means that
kvni could be the ON neuter noun kyn in dative; kyni, kyn which Rydberg says
means monstrous or supernatural. He compares this noun kyn to the OI words kyn-
jamein and kynjasott which are supposed to mean "a disease received through sor-
cery." Just like my own hypothesis, in both places of the two quoted lines seid is the
past tense of the verb sida, the process of performing magic/sei#r, and not the noun
seidr itself: see further An Icelandic-English Dictionary by Cleasby and Vigfusson
under Sida, v. > "... of which occur only the infin. pret. seid, Vsp. 25." You can trace
the ON kyn in the Icelandic words kyngi, magical knowledge, and jjolkyngi, black
magic and witchcraft. It most likely derives from the ON stem kunna, to know, as in

103

GULLVEIGARBOK

the English word can (know) which derives from the same root as ON kunna, which
is the Latin gnosco, get to know, gnosis (Greek), knowledge, cognosco, to learn, know.
I compare this to the rune Kyn (<); which is, in my understanding, the true name
and meaning of this rune. The OI noun kyngi is a remnant of what the Kyn rune
stands for; enlightenment and gnosis (received as magical/divine knowledge). The
rune belongs to the bringer of the black flames - the Muspell-born Loki.

So for Heidr to seid leikin must mean that she practiced necromancy by invoking
and evoking her daughter Hel/Leikin to bring death and disease 1 . This is most likely
connected with the ON belief that diseases arise from the act of being ridden by
witches 2 : as Hel is allegorized riding her black gandr when she ascends from the un-
derworld to eat the dead in Midgardr, which in its turn could
have been an allegory of Hels essence possessing the world-
tree s root and in that way spreading sicknesses and death to all
life which is nourishing from the world-tree - thus Hel is riding
her three-legged gandr Heldrasill. In Saga Olafs Tryggvasonar,
in Snorri s Heimskringla, we find a very interesting testimony
about Hels steed, Leiknar hest:

Tidhoggvit let tiggi

Tryggva sonr fyrir sty gg van

leiknar hest a lesti,

Ijotvaxinn hrae Saxa.

Vinhrodigr gaf vioa

visi margra Fnsa

blokku brunt at drekka

blod kveldridu stodi.

1 Compare to Vigfiisson, Ryd-
berg, and Egilsson, 1931, Lexi-
con Poeticum.

2 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary.

It is skittish, styggr, foully grown, Ijotvaxinn, black, blokku, it drinks blood, drekka
bldd, and it is called a steed of a death-rider, kveldridu stodi. The saga Heimskringla
was written during the years of 1200 AD, which means its a pretty late medieval
saga. So whether this allegorization of Hels steed is a remnant from an early ON
mythology or not we don t know. However, without me being too modern in think-
ing, I believe that this kind of a metaphor for Hels Nifl-steed could have some truth
in it. Chthonic monsters and troll were strongly believed to be deformed and ma-
lignant, even before the Christian influences corrupted the original body of the ON
sagas. Just take Garmr, Fenrir and Jormungandr for example; they are not really
friendly pets of the aesir, Fenrir is described as being a horrible giant beast: «en Fen-
risulfrferr med gapandi munn, ok er inn nedri kjoftr vid jordu, en in efri vid
himin. Gapa myndi hann meira, efriim vxri til. Eldar brenna or augum hans ok

nosum» 1 . JormungaiMli b
giant-monsters, wrathfii
headed giants from the

HEL'S ATTRIBUTES

Necromancy is obviously ;

of deathly powers anc

was viewed as a black - r.iruj

or the ones dying. She ei

Niohoggr gorges on their o

black power in Midgardr d

areas, such as burial site

irreplaceable work on

Norske Hexeformularer ogi

proves what signifi<

necromantic praxis,

backwards, the numb

attributes are given to Hel

ON necromantic magic ii

fied, and she was illustrate

a rabid and pestilent bUd

like death itself. This is un<

itself, drasill in ON meana

underworld were seen as

Hels Horse. The Heldr*

deathly queen Hel,

is riding on when she travi

horse and her mother G

Hyrrokin). The gandi be

(pL gandar) was originall

derives from the ON v.

the giantess, witch, and fy

104

Hel - In Svarta

root as ON kunna, which

jgnosco, to learn, know.

iding, the true name

it of what the Kyn rune

Jivine knowledge). The

L-born Loki.

necromancy by invoking
isease 1 . This is most likely

Lie act of being ridden by
she ascends from the un-
t which in its turn could
:e possessing the world-
ag >.cknesses and death to all
» : r.a-tree - thus Hel is riding
iga Olafs Tryggvasonar,
a very interesting testimony

* . : • •: it drinks blood, drekka
i6di. The saga Heimskringla
an s a pretty late medieval
a remnant from an early ON
I e r eing too modern in think-
- 1 :eed could have some truth
!ved to be deformed and ma-
d the original body of the ON
gpample; they are not really
bomble giant beast: «en Fen-
i -d jordu, en in efri vid
ar nenna or augum hans ok

nosum»

r »/jH(r^/ l . Jormungandr is called sii er god fia, the one hated by the gods - they are
giant-monsters, wrathful and antagonistic. Hymniskvida for example explains multi
headed giants from the east:

sa hann or hreysum

med Hymi austan

folkdrott fara

fjolhofdada. 2

HEL'S ATTRIBUTES

Necromancy is obviously attributed to Hel; she is the queen
of deathly powers and keeper of the realm of the dead. She
was viewed as a black shining hue that came to collect the dead
or the ones dying. She embraces their spirits and her ally
Nidhoggr gorges on their corpses, i.e. their dead remains. Hel s
black power in MidgarSr dwells in places of death and liminal
areas, such as burial sites in general and crossroads. In Bang s
irreplaceable work on Old Norwegian magical formulae
Norske Hexeformularer ogMagiske Opskrifter (1901-1902) he
proves what significance certain black magical actions had in
necromantic praxis, such as the use of crossroads, walking
backwards, the number 3, and nocturnal workings. All these
attributes are given to Hel and should work as a foundation in
ON necromantic magic in Hel's name. She is death personi-
fied, and she was illustrated in the medieval sagas as riding on
a rabid and pestilent black three-legged horse, which looked
like death itself. This is undoubtedly a metaphor for Heldrasill
itself, drasill in ON means horse and the skeletal roots of the
underworld were seen as a three-legged horse: Hel-drasill -
Hel's Horse. The Heldrasill also worked as the gandr of the
deathly queen Hel, gandr being her black magical vehicle she
is riding on when she travels - Hel rides the black three-legged
horse and her mother Gullveig rides the thursian wolf (as
Hyrrokin). The gandr became an attribute to giantesses in general and the gandr
(pi. gandar) was originally viewed as a wolf (hence the ON word vitnir, wolf, which
derives from the ON word vitt, magic; vitnir 3 then being the magical woK-gandr of
the giantess, witch, and rjolkunnigr-seidberandi) 4 , but also as monsters such as drag-

1 "Fenrir shall fare with gaping
mouth, and his lower jaw shall
be against the earth, but the
upper against sky, he would
gape more if there were room.
Fires blaze from his eyes and
nose." Gylfaginning 51.

2 "He saw a multi-headed lot
fare with Hymir from the east
out of the heeps of rocks."

3 Fenrir was called Vitnir in the
ON poetry, most likely a rem-
nant from the Hyrrokin-
mythos which is symbolizing
the wolf as being the carrier' or
"conveyor" of (supernatural)
knowledge as the ON word vit
suggests. Compare this to the
wolf's epithet gijrs hest, witch-
horse, i.e. "the conveyor of a su-
pernatural power."

4 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary, and
Egilsson, 1931, Lexicon Poet-
icum.

105

Gullveigarb6k

ons and serpents (as in Jormungandr), representing the giantesses' staffs of power
(yelr - velva) which in their turn became the witches' brooms in later folklore. This
is connected to the ON belief in kveldrida, which was a giantess or witch who rode
Sigandr in the night or in the twilight, her gandar was known to be a wolf (kveldridu
dob) the wolf, which is a derivation from the primitive ON wordgandr, wolf), most
likely remnants derived from the primitive Gullveig-mythos. And kveld- is not de-
rived from the ON word kveld, evening or dusk, but from the ON word kvelja as in
to torment or kill. So a correct translation of kveldrida would be a death-rider or a
torment-rider. The view upon the kveldrida fits also better with the equivalent
myrkrida. Gift and tunrida are also connected to the entity kveldrida-, «tunridur leika
lojti d» (Hdvamdl 155), "hedge-riders play in the air". Tunrida, hedge-rider, was a
"witch" or a ghost who flew around in the air, thus the Old Scandinavian people be-
lieved that tunrida rode on their hedges and the tops of houses during the nights.
The gtfr was a name for witches or fiends, as in gifrs hestar, witch-horses, which was
an epithet for the wolf. ON hest in mythology meant not just horse but many times
carrier or conveyor, and the wolf was viewed as being the giants' and witches' horse,
and ships were called sea-horses and even sea-wolves.

Corax, and in the same
that different from the ran
Gullveig turned into a
given to the raven and th«
and Hel, there is no d

The raven was also seen as one of the animals which belonged to the possessors
of the death-aspect. In my opinion there is a reason why Odinn's underworld-spies
are ravens. Ravens were like mythological serpents and dragons in the way that they
represented a messenger - Heljarhrafn; herald of death. Ravens symbolized the
black death: airborne and intelligent. To see ravens was often seen as a bad omen;
as if Hel herself was present. Sdlarljod 67 confirms their connection to Hel:

...Hel's ravens violently hacked out their eyes from their skulls.

The raven is naturally a symbol of death; the flying black bird who seeks places
of death. The raven is considered an omnivore, but he is very often a scavenger living
off carrion, this is how he naturally becomes a metaphor for death, he is often scout-
ing for cadavers. Hunters in Sweden have told me that if you go out in the woods
and shoot a round with your rifle ravens will soon gather around you. Indeed, if you
have been close to a raven and had the chance to look into his black lustrous eyes
you know that it is not you who is observing him, it is he who observes you. When
you see a flying raven at dusk cawing his melancholy, you soon understand why the
raven has been an omen and herald of death for ages. The raven also has a habit of
nesting close to humans, simply because he is no hunter and it is easy to steal from
us. Back in the superstitious times this of course gave people the uncomfortable *
feeling that death was their neighbor. The scientific name of the species is Corvus

106

Hel - In Svarta

be giantesses' staffs of power
b r : ms in later folklore. This
.tess or witch who rode
mown to be a wolf (kveldridu
S nyrdgandr, wolf ), most
r .-.-:.- - And kveld- is not de-
em the ON word kvelja as in
i would be a death-rider or a
> better with the equivalent
tity hrkhida; «tunridur leika

... . : .t hedge-rider, was a
Md Scandinavian people be-
of houses during the nights.
tar, witch-horses, which was

: - > : horse but many times
~= ; i.-.:> and witches' horse,

Corax, and in the same genus there is a smaller Corvus: the crow. The crow is not
that different from the raven as a bird or in folklore and mythos. In the ON sagas
Gullveig turned into a crow and her daughter Hel has ravens, with the attributes
given to the raven and the crow compared to the attributes given to both Gullveig
and Hel, there is no doubt that they all are attributed and interlinked to each other.

elooged to the possessors
Odinns underworld-spies
- r ns in the way that they
L Ravens symbolized the

ctten seen as a bad omen;
onnection to Hel:

rom their skulis.

r . i - bird who seeks places
; K r often a scavenger living
jr death, he is often scout-
It if you go out in the woods
et around you. Indeed, if you
l into his black lustrous eyes
lie who observes you. When
ou soon understand why the
The raven also has a habit of
er and it is easy to steal from
e people the uncomfortable
ime of the species is Corvus

107

** *

•*

* *

Jormundgandr, Fenrii a.
Loki, the most feared tfaoj
were conceived by Loki <
burned, as her heart was nc
being the serpent that enc
an allegorization of what «
thursian venom - X::
be seen as a serpent-lik
worlds. He controls the w
water/ ice and fire as a <ea-i
a wolf, so big his lower jaw
so much drool oozes
came out of it. He is the i
thirst. Garmr, Hati and Sb
aim to swallow the moon
Gullveig; there they spawn
the fire ofMu spell In ij|;
which is self-explanatc
purpose. She is the ruler c
it, hence her epithet N . : -~-
upon her three-legged pc
represents the water - e o

All three of them, To
ings which are connected
explains that "Cain becom
and deformed creature
the ON people to describ

The Offspring

<=fo«.c>

Jormundgandr, Fenrir and Hel are the mythological children of Gullveig and
Loki, the most feared thursian monsters throughout the entire mythology. They
were conceived by Loki eating Gullveig s heart three times after she had been
burned, as her heart was not burnt (because of its rime-cold essence). Jormungandr
being the serpent that encircles Midgardr, hence his epithet Midgardsormr 1 ; he is
an allegorization of what snakes through the worlds and encloses them with the
thursian venom - Nifl s tortuous venom - Hvergelmis eitrar. This metaphor could
be seen as a serpent-like power which circulates darkness and adversary in the
worlds. He controls the worlds by enfolding them. Jormungandr represents both
water/ice and fire as a sea-monster and a serpent. Fenrir is the second son and he is
a wolf, so big his lower jaw rests on the ground and his upper jaw touches the sky,
so much drool oozes out from his blood-stained mouth that the river called Van
came out of it. He is the uncontrolled force, the flames' hunger and the oceans'
thirst. Garmr, Hati and Skoll represent him, the restless and ceaseless hunters who
aim to swallow the moon and the sun. Fenrir s abode is Jarnvior with his mother
Gullveig; there they spawn thurs-wolves and werewolves together. Fenrir represents
the fire of Muspellzheimr and Loki's trait Hel is the divine manifestation of death;
which is self-explanatory, but with a much deeper sense and
purpose. She is the ruler of Niflheimr and every thing within
it, hence her epithet Nifl-Hel. It is said that she comes at night
upon her three-legged pestilent horse to reap humans. Hel
represents the water/ice of Niflheimr and Gullveig s trait.

1 Gylfaginning 34.

2 & 3 Rooth, 1961, Loki in
Scandinavian Mythology.

All three of them, Jormundgandr, Fenrir and Hel, are part of the supernatural be-
ings which are connected to the entities called the "children of Cain ' 2 . Rooth also
explains that "Cain becomes the father, not only of monsters, but also of all defective
and deformed creatures" 3 . This is a mythological aspect that has been adopted by
the ON people to describe the monstrous giants.

109

GULLVEIGARBOK

Fenrir, the wolf of death, the fairs most feared antagonist
Fenrir, the wolf of greediness, Odinns bane and Tyr s enfeebler

Fenrir ; second born of Gullveig and Loki

Fenrir, pursgandr, Hyrrokins cruel companion

Fenrir, pursvitnir, the mighty wrath of Jarnvidr

Fenrir, the grandness of the thurses, His jaws reach from soil to sky

Fenrir, the strength of the thurses, once fettered by the weak Laedingr,

which He shattered in mockery
Fenrir, the powerfulness of the thurses, once fettered by the weak Dromi,

which He shattered in glory
Fenrir, the assiduousness of the thurses, once fettered by Gleipnir from Svartalfa

heimr, which shall shatter at Ragna Rok

The Antagonist, the Opponent, the Adversary.

FENRIR

The cold and dispassionate eyes wander over the dark and misty lands from the
snow-clad rock where he stands; the windows of cold hunger are a legacy from his
mother. The inextinguishable hunger stems from the ever-flaming insides of the
beast, his appearance is made for cold, but his inside is an ever-flaming torch which
reach out in rage through his jaws of death. The flaming core is a legacy from his fa-
ther. He is Fenrir the mighty; the one called The Wolf, because he is the essence of
the wolf-entity, he is the first wolf, father of the wolf-race, and father of werewolves.
He spawned abhorrent and deformed demons with his mother, their lust is his
hunger, a loathsome and corrupt sexual nature which is unnatural and profane -
lawless and formless - their communion is above human nature, it supercedes the
gods' procreation. It is the way of para-creation: the act of creating what is not supposed
to be created. They create lawlessness in a world of law; they create war in a world of
structure; they create antithesis and oppositions; they create world-destroyers and
enemies to the world of the cosmos. The wolf is the allegory of the wild and un-
tamed force that dwells deep within the darkness and encircles you without you
knowing it. And like the lightening thrust out his burning arm, the wolf springs out
of the dark and locks his jaws around you. He is an allegory of the malice in the
abyss; the hateful fiend and his allies who wish to destroy the faith and hope of the
world and to damn them to perdition.

As Fenrir is a mythol
allegory of an aspect or
lveig s power is such a
some parts of her essenc:
its own will-power and
and self-governing m;

Fenrir holds Gullve v
which brings forth ruin and
and uncontrolled, somen:
from - as he is ferocity unl
paths only, everything in hi
of an assiduous purpose, m
and in darkness he
abode - howling in re
wolves, and stalking tr
starving and irate hunter.
loses, this he forever
of his existence. Indeed
without doubt and : - :
nents: Odinn. Fenrir laugj
he is obsessed with the ide
standing face to face with C
at his naked spirit till it i

>"•

The derivation of Fenri
vincing or satisfying theoi
OI word fenna, covered i
lands of Jarnvidr, due to it
mother is said to be
dyrr, par er hann vissi vdhi 1
door, as he knew where tin
a common idea for the mc
Ragna Rok. If the verb fat
snow, it could easily h
Fenrir s name in The Horn
Lays, 1899, where he stati
he says:

110

The Offspring

antagonist
Tvr s enfeebler

anion

ridr

ach irotn soil to sky
= weak Laedingr,

v the weak Dromi,

Gleipnir from Svartalfa-

I misty lands from the

t'_r. r : - are a legacy from his

flaming insides of the

flaming torch which

re is a legacy from his fa-

becanse he is the essence of

and father of werewolves.

mother, their lust is his

is unnatural and profane -

an nature, it supercedes the

faxating what is not supposed

create war in a world of

areate world-destroyers and

He gory of the wild and un-

l encircles you without you

og arm, the wolf springs out

legory of the malice in the

ov the faith and hope of the

As Fenrir is a mythological offspring of Gullveig, the authors wanted to make an
allegory of an aspect of Gullveig (and Loki) separately from her own entity. Gul-
lveig s power is such a complex mass of energies that they cannot keep together;
some parts of her essence release themselves from their matrix and strides away by
its own will-power and assiduousness, and become separate entities; independent
and self-governing magical wills who turn themselves into thursian giants.

Fenrir holds Gullveig s ferocious aspect; he is a rabid and destructive power
which brings forth ruin and stunning potency. He is the bestial thurs-wolf, wrathful
and uncontrolled, something that a life-worshipper would do anything to keep away
from - as he is ferocity unleashed. Deformed and untamed he strides on his own
paths only, everything in his way he plows down with his talons of hunger; a hunger
of an assiduous purpose, not for the calming of his belly. He is spawned in darkness
and in darkness he dwells; in Jarnvicir, the depths of the underworld, he has his
abode - howling in restlessness, breeding grim races (dttir) of wolves and were-
wolves, and stalking the rim to the worlds, agitated and edgy, with the gaze of a
starving and irate hunter. The inner eye fixed upon the main target, this he never
loses, this he forever fantasies about, this he is preparing himself for every second
of his existence. Indeed, as he is the strongest and the spearhead of his dttir, he will
without doubt and questioning take out the strongest and mightiest of his oppo-
nents: OcHnn. Fenrir laughs at the thought or his mothers seering of killing him;
he is obsessed with the idea of it, and he cannot wait until the moment when he is
standing face to face with Cdinn and ripping him in two as he spits Muspell s flames
at his naked spirit till it incinerates. Gullveig has already seen it, it will be done!

The derivation of Fenrir s name has been discussed but I have not seen a con-
vincing or satisfying theory yet. My own theory is that the name derives from the
OI wotdfenna, covered with snow; I'm thinking of Fenrir s origin: the snow-covered
lands of JarnvicJr, due to its location close to Niflheimr. In Baldrs Draumar Fenrir s
mother is said to be resting in a snow-covered grave: «Pd reid Odinnfyrir austan
dyrr, par er hann vissi volu leidi... snivin sn<zvi», "Then &cHnn rode to the east of the
door, as he knew where the witch lay. . . snowed over by snow." This might have been
a common idea for the monsters of JarnvicJr to do as they wait for the day of wrath:
Ragna Rok. If the verbfenna was to be made into a noun,/ewr, the one covered with
snow, it could easily have been made into the name Fenr-ir. Sophus Bugge discusses
Fenrir s name in The Home of the Eddie Poems with Especial Reference to the Helgi-
Lays, 1899, where he stated that the ending -rir did not exist in the ON language;
he says:

111

Gullveigarb6k

The name Fenrir, or Fenrisulfr, has been explained as if it were a genuine Scandina-
vian derivative of ON fen in the poetical meaning of that word, viz. 'sea,' and desig-
nated the monster as a water-demon. But this explanation cannot be correct; for there
does not exist in Old Norse any productive derivative ending -rir, gen. -ris.

1 Compare the masculine noun
hirdir under a-stems to Fenr-ir.
Palm, 2004, Vikingarnas Sprdk.

Well, the ending -ir (genitive -is) did exist 1 , both as nomi-
native cases in singular and plural.

Fenrir is also called Vanargandr, which connects his name
with his sibling's Jormungandr. Vanargandr means "the wolf or the monster of the
river Van", and it is an epithet recalling Fenrir's imprisonment when he had a sword
between his jaws, which resulted in a poisonous river from his saliva running from
his mouth, and this river was called Van.

Bugge also says in his book (which I mentioned above):

"While the wolf Fenrir has to some extent its prototype in Behemoth, the Mithgarthsorm
has its prototype in Leviathan. In Job xl. Leviathan is associated with Behemoth as a
mighty creature similar in nature. In Scandinavian mythical stories, the Mithgarthsorm
and the wolf Fenrir appear side by side; they are even represented as brothers. The
Icelanders thought of the Mithgarthsorm as lying in the sea, surrounding all lands,
and biting its own tail. This concept is taken directly from the Christian concept of
Leviathan. Bede says: Leviathan animal terram complectitur tenetque caudam in ore
suo. In the Christian Middle Ages, the similarity between the Mithgarthsorm and
Leviathan was so striking to the Icelanders that they identified the two. Thus in an old
book of homilies, we find Midgardsormr written over levia^an as a gloss."

limity - and she will, as A
and his brothers Skoll and t
who call themselves dsnugm,
their dsmodr, "the divine stn
the thurses ultimateness, the
dsapdrr, "I>6rr", whom wi

Fenrir is of an amorphous entity and thereby seen as the father of werewolves.
He is a destructive and constructive power that hates to be bound, he hates form
and law. He has immeasurable strength which predates the gods by times forgotten.
He crushes everything in his way until he finds freedom as in boundless eternity,
the lawless state that his entity craves. Fenrir cannot be controlled or dominated,
he only strides his own way. If you want his guidance you have no other choice than
to follow him in his footsteps or he will tear you apart like you were nothing. This
is allegorized in the saga when the &$ir tried to bind him down with magically en-
forced chains. Tyr was the only one brave enough to put his arm in Fenrir's giant
mouth in proof of good will. Although, Fenrir saw right through their deceitful trick
and tore offhalf of Tyr's arm. Fenrir roams in his territory: the darkness of the un-
derworld in the sunless valleys, as he is waiting impatiently for the day when his
leader will unleash him upon the worlds to spread his darkness and wrath of sub-

112

The Offspring

.•ere a genuine Scandina-
word. viz. 'sea,' and desig-
cannot be correct; for there
g -rir, gen. -ris.

i) did exist 1 , both as nomi-

limity - and she will, as Angrbocia is Fenrir s mother, companion, and leader. He
and his brothers Skoll and Hati will join their dark mother in avenging the tyrants
who call themselves dsmegin, "the heavenly divine power" - the gods who brag about
their dsmodr, "the divine strength of Pott", which is nothing more than a replica of
the thurses ultimateness, their dsriki, "Heaven", which slowly fades, and their proud
dsaporr, "I>6rr", whom will soon drink the rime- water of Fenrir's sibling.

•vhich connects his name

the wolf or the monster of the

nent when he had a sword

m his saliva running from

- r-r -r :.~. the Mithgarthsorm

oated with Behemoth as a

es, the Mithgarthsorm

presented as brothers. The

ea. surrounding all lands,

~:~ ne Christian concept of

tenetque caudam in ore

the Mithgarthsorm and

the two. Thus in an old

r a - as a gloss."

n as the father of werewolves.

:o be bound, he hates form

:.".•;■ gods by times forgotten.

dom as in boundless eternity,

t be controlled or dominated,

you have no other choice than

ut like you were nothing. This

I him down with magically en-

» put his arm in Fenrir's giant

jbt through their deceitful trick

ory: the darkness of the un-

ppiently for the day when his

tiis darkness and wrath of sub-

113

GULLVEIGARBOK

Jormungandr, the great wand, iPorr s bane

Jormungandr, Elivdgars spittle, crusher of the worlds

Jormungandr, first born of Gullveig and Loki

Jormungandr, the great serpent, the grasp and the terror

Jormungandr, pursgandr, Hyrrokins cruel companion

Jormungandr, the great spike, the contagion in the great ocean

Jormungandr, the poisonous spear impaled in the heart of Asgardr

J0RMUNGANDR

Is Jormungandr male or female? That is a question that will probably stay unan-
swered forever. Although Jormungandr might be androgynous, a quality both Gul-
lveig and Loki show in the ON sagas; Gullveig got Loki pregnant with Jormungandr,
Fenrir and Hel. As Fenrir represents fire and masculinity and Hel water and femi-
ninity; Jormungandr represents both fire and water - masculinity and femininity.
A mysterious paradox that shows us how complex the thurses are in the sagas, and
how unnatural they appeared - they represent, in the sagas, lawlessness and amor-
phousness. With confidence I say that Jormungandr has similar mythological qual-
ities as Leviathan in the Christian and Jewish mythology. The Book of Job allegorizes
Leviathan, the great sea monster, with details that are analogous with Jormungandr
in the ON mythology:

Canst thou draw out leviathan with an hook? Or his tongue with a cord which thou
lettest down? Canst thou put a hook into his nose? Or bore his jaw through with a
thorn? Will he make many supplications unto thee? Will he speak soft words unto
thee? Will he make a covenant with thee? Wilt thou take him for a servant for ever?
Wilt thou play with him as with a bird? Or wilt thou bind him for thy maidens? Shall
the companions make a banquet of him? Shall they part him among the merchants?
Canst thou fill his skin with barbed irons? Or his head with fish spears?

Out of his mouth go burning lamps, and sparks of fire leap out. Out of his nostrils
goeth smoke, as out of a seething pot or caldron. His breath kindleth coals, and a
flame goeth out of his mouth...

When he raiseth up himself, the mighty are afraid: by reason of breakings they
purify themselves. The sword of him that layeth at him cannot hold: the spear, the
dart, nor the habergeon. He esteemeth iron as straw, and brass as rotten wood. The
arrow cannot make him flee: slingstones are turned with him into stubble. Darts are
counted as stubble: he laugheth at the shaking of a spear. Sharp stones are under
him: he spreadeth sharp pointed things upon the mire. He maketh the deep to boil
like a pot: he maketh the sea like a pot of ointment.

Just from this quotatu
- -- - : > and I think :: ; > c4

Sadh\ the very limi
Gullveig do not give us rr
that it was thought of, in t
and Lotus conjoined \\!L
devoured Gullveig > rime
~ . : - : have been a _ . aUec
shows up at Ragna Rok ai
boned during this final h
\jmmund-, mighty -r.i~dr.
- :. ; ent in her p i ; e : ki
:~:, .iren: Jormungan i : ■
Ragna Rok in Yoluspd: H
Fenrir, and finally L
in Gylfaginning and
The anti-cosmic poison, a
z ■: -::uctive thursian inline
~rr > roots and in that \$
""--"*..-. Thufsatru 3 the ej|
which is spread by the Ch.
and to "meh off" or kit
poison is the arms c: Tc
"."_ - :-el£ It is no: ; :ir ^:
rent: rivers normaUv k
Pott, ^vhich kills him
tne OX cone r : : : d
of Joonungandr k -^ -
M: rgardt, is for me =

^rinits .
throu^i the re
there is no wav aro

Jormungandr is called «
[:_ia :: severe apf eflaNa
r - :r.: and adversan i

114

The Offspring

rane
of the worlds
and Loki

nd the terror
id companion

- e great ocean
the heart of Asgardr

ill probably stay unan-

nous. a quality both Gul-

regpant with Jormungandr,

or nd Hel water and femi-

- masculinity and femininity.

iurses are in the sagas, and

igas, lawlessness and amor-

jnilar mythological qual-

. Book of Job allegorizes

analogous with Jorniungandr

with a cord which thou

>r bore his jaw through with a

he speak soft words unto

him for a servant for ever?

- for thy maidens? Shall

5 - Tim among the merchants?

- fish spears?

- eap out. Out of his nostrils
is :reath kindleth coals, and a

by reason of breakings they
■n cannot hold: the spear, the
and brass as rotten wood. The
litrt him into stubble. Darts are
r. Sharp stones are under

He maketh the deep to boil

Just from this quotation we can draw many parallels with Jormungandr s ON
mythos, and I think it is obvious that they share essence, attributes and manifestation.

Sadly, the very limited mythos about Jormungandr and his/her relationship with
Gullveig do not give us much, but by using our imagination we could hypothesize
that it was thought of, in the Old Norse mythology, as Jormungandr being Gullveig
and Lokis conjoined Will: a manifestation of their purpose if you will. When Loki
devoured Gullveig 's rime-heart he might not really have given birth to a serpent, it
might have been an allegory for their conjoined Wills taking form. Jormungandr
shows up at Ragna Rok and kills £6rr, but Gullveig is, strangely enough, not men-
tioned during this final battle. So the serpent might have been her mighty gandr
(jormund-, mighty, -gandr, a magical vehicle, or an object used by a sorcerer) 1 which
she sent in her place to kill her archenemy I>6rr. 2 As £6rr has tried to kill Gullveig s
children: Jormungandr in the saga Hymiskvida and during
Ragna Rok in Voluspd; Hel according to Skdldskapamdl 1 1;
Fenrir, and finally Loki and Gullveig herself several times (e.g.
in Gylfaginning and Skdldskaparmdl 11: Hyrrokkin ddfyrri).
The anti-cosmic poison, eitr, in ON mythology represents the
destructive thursian influence which is absorbed by the world
tree s roots and in that way infecting the gods and all life.
Within Thursatru 3 the eitr represents the anti-cosmic gnosis
which is spread by the Chaos-powers to enlighten the receptive
and to "melt off" or "kill" the Ego and the cosmic illusions. This
poison is the arms of Jormungandr, and might as well be his
true Self It is not strange to allegorize mythical water with a
serpent; rivers normally look like giant serpents. Indeed, Jormungandr spit his eitr
on I>6rr, which kills him, in the seering of Ragna Rok, so he is definitely interlinked
with the ON concept of the eitr. With this said I want to add that the explanation
of Jormungandr laying in the bottom of the ocean and there encircling the world,
MicJgardr, is for me a metaphor for the eitr taking form as Jormungandr and holds
Mi<5garcJr in its grip - saying that the eitr has contaminated the whole creation,
through the roots of the world tree; "from under the bottom of the sea", and that
there is no way around it.

Jormungandr is called «su ergodfia», "the one the gods hate", in Hymniskvida.
It is a very severe appellation and shows that he/she was as much an antagonist, op-
ponent, and adversary as his/her siblings.

1 Compare to Fenrir 's epithet
Vanargandr. Gandr also has the
meaning of divine monsters
such as thursian wolves, ser-
pents, and dragons.

2 This however reminds me of
Lilith and how she used the
serpent.

3 See the part of this book
called Fjelkyngi.

115

Gullveigarb6k

HATI, SK0LL, AND G ARMR

Grimnismdl and Gylfaginning illuminate us with the knowledge that the thursian
wolf Fenrir, also called Hroovitnir, is the father of Hati, as Hati is called Hati
Hrodvitnisson in Gylfaginning 12 and Hati, «hann erHrodvitnis sonr» in Grimnismdl
39. Gylfaginning continues and says:

A giantess dwells to the east of Midgaror, in the forest called Jarnvidr: in that wood
dwell the troll-women, who are known as Jarnvidjur (ironwood-women). The old gi-
antess bears many giants for sons, and all in the shape of wolves; and from this
source are these wolves sprung (i.e. Fenrir, Hati, and Skall). The saying runs thus:
from this race shall come one that shall be mightiest of all, he that is named Mana-
garmr (Moon-Garmr); he shall be filled with the flesh of all those men that die, and
he shall swallow the moon, and sprinkle with blood the heavens and all the lair;
thereof shall the sun lose her shining, and the winds in that day shall be unquiet

and roar on every side.

"Managarmr shall be filled with the flesh of all those men that die, and he shall
swallow the moon". This line explains very much, it shows us that the name Mana-
garmr is both linked to Garmr, the guardian dog in the underworld, and to Hati
who chases the moon. And the words "he shall be filled with the flesh of all those
men that die" refers most definitely to Garmr who attacks and devour the dead in
the underworld, and the words "he shall swallow the moon" refers to Hati who
chases the moon and at Ragna Rok catches and devours it This in my opinion
proves that Garmr and Hati are in fact the same thursian wolf It also means that
Fenrir is Garmr s father as well as Hati s and their mutual mother is then naturally
Gullveig: "the giantess dwells to the east of Midgard, in the forest called Jarnvidr...
(she) bears many giants for sons, and all in the shape of wolvesj and from this source
are these wolves sprung." And concerning Garmr, dogs have frequently been used
by humans to guard their grounds, so I dare to hypothesize that the Old Norse peo-
ple thought wolves and dogs were very close in nature.

AD that a woman want
orsubm;

O REWORD

jmcthing that struck m

thev are living

never \*e toeethi
re
the same roc: Thi
ranefbmg thai mast be]

understanding
ad of die essence
pes I understand cnbs

' W

i «i

daughter EieL as I

1 _- .11— ~-.:i.

ftoo

represent the

boos, and the £sir ia

116

GULLVEIG AND LlLITH

sue ledge that the thursian
Hati. as Hati is called Hati
-. > sonr» in Grimnismdl

aited Jarnvidr: in that wood
onwood-women). The old gi-
of wolves; and from this

). The saying runs thus:

e that is named Mana-
of al those men that die, and
ea ens and all the lair;
-a: day shall be unquiet

men that die, and he shall
that the name Mana-
the underworld, and to Hati
kd with the flesh of all those
- and devour the dead in
--: — :n refers to Hati who
rvours it. This in my opinion
ssian wolf. It also means that
tfnal mother is then naturally
in the forest called Jarnvidr . . .
: Ives; and from this source
>gs have frequently been used
that the Old Norse peo-

Mh$?

*«£!»&

All that a woman wants to be; Gullveig is - because she has no feminine weakness
or submissiveness. She is the representation of the ultimate feminine power.

FOREWORD

Something that struck me in my Edda- studies was that most of the aesir have wives
and they are living together in AsgarcJr, much like us humans. However, the giant-
couples never live together; it might say in some few stanzas that in this or that yard
a giant couple lives, but they are never depicted as both of them really living there
under the same roof. This is a very interesting detail and the symbolism of this is
something that must be brought up, as I will soon explain. I have an interest in other
goddesses such as Lilith, Hecate, Kali and Ereshkigal, and this has brought me a
deeper understanding of the high feminine principle and its role in the mythology
and of the essence of the divinities. By understanding other traditions and mytholo-
gies I understand ours better, the Old Hellenic and Mesopotamian ones are funda-
mental influences of the Germanic religion and have thereby had an impact in
universal elements amongst the mythological characteristics and essences. What I
am trying to say is that both Lilith and Hecate are linked in essence to Gullveig and
her daughter Hel, as I have explained before, and they share certain fundamental
characteristics such as for example the ultimate elemental femininity in the dark
goddess.

Fundamental aspects of especially Gullveig and Lilith are self-independence,
strength, rebellion, and motherhood.

Giants represent the lawlessness, e.g. unnatural essence, attributes and manifesta-
tions, and the aesir represent law and order, e.g. natural essence, attributes and man-
ifestations.

117

GULLVEIGARBOK

GULLVEIG; THE UNDERWORLDLY MOTHER, CRONE,
AND MAID

She first came out of Chaos as a black icy essence, infesting creation with a hostile
intent. She, the Old One, then embraced the seed of Yggdrasill in the beginning of
time and injected the poison which is metaphorically called waters of Chaos. She
made her abode by the young roots of Yggdrasill, in the shadows of the world tree
and brilliant stars. Close to the icy and misty world of eternal winter she dwells so
that its cold and darkness can linger in her valleys in a world under men and gods -
the rulers of the upper worlds. She knows them well as she lurks amongst them all
in the guise of their own. Cunning she is, the wise one, drawing her veil of darkness
over their existence - sending her beast to devour the silvery eye, sending her beast
to devour the golden eye; he guards her realm and gives her sons and daughters.
Crafty she is, nourishing men and the gods with the foul water of her icy well} from
where all waters, oceans and wells spring. The shining spirit of the old water is black
and foul for men and gods.

She is the old one of the lower world and the mother to the ruler of the lower
world. She is the wise one who bore the serpent who keeps the world of men, the
wolf who tames the upper world of the &sir's races, and the keeper of the under-
world.

I have shown that Gullveig is a mother-giantess, as she in Jarnvidr produces the
demon-hordes. The sagas say too that Barningar are coming from those woods and
tracts, and also Loki comes with Naglfar out from the east at Ragna Rok. As it is
told in Vtiluspd:

In the east in Jarnvidr where the Old One sat,
and there she bore FennYs offspring.

- all of them are deformed
an unnatural cosmic torn
} Jtunheimr, a dark p
function is comprehende
wrathful acosmic Cha
i "•-.">. which are of co^ ; :
be looked upon as the sph
ates her kin, a portal to the
Esoterically speaking. I sc
pects maybe the whole in
into, or bound them into.

The impulse can allegw
the ON mythology expbi
thurses and all kin
Rok echoes throughout d

I want to remind vou 1
the mother-goddes
form of the witch-aspect ;
witchcraft She is the witd
tarm-houses under the n.
women the dark runes an
and procreator of the tin
name Angrboda and is

This shows that she
>:.:vo that she is

And:

The ship comes from the east,
over the sea the Muspell's Sons shall come,

and Loki steers.

All of Gullveig s offspring are monsters and hybrids; there are even incest-related
suggestions in Voluspd between Gullveig and Fenrir. Her most famous children are
of course Jormungandr, Fenrir, and Hel; a giant snake, a giant wolf, and a giantess

ULITH

I would like to men:
*_- : nsand vears r i : : : £
have to bear in mir
rotamiaand

_*: -pproximatei" frc
of Satan. She is the firs!
because she

118

GULLVEIG AND LlLITH

ER, CRONE,

sting creation with a hostile
ggdrasill in the beginning of
called waters of Chaos. She

:*vs of the world tree
-::.- : _. * rinter she dwells so
»■ :~.i under men and gods -
s she lurks amongst them all
drawing her veil of darkness
■1 -■ -. r. eye sending her beast
twes her sons and daughters,
ul water ofher icy well; from

: the old water is black

to the ruler of the lower
the world of men, the
nd the keeper of the under-

she in Jarnvidr produces the
~ - : from those woods and
t at Ragna Rok. As it is

e sat.

- all of them are deformed Chaos-creatures - anti-cosmic essences which have taken
an unnatural cosmic form. Jarnvidr is located in the farthest east in the depths of
Jotunheimr, a dark place, where only malign and anti-cosmic forces dwell. Their
function is comprehended as wrathful because they stand for the reaction of the
wrathful acosmic Chaos, a so-called dissolving impulse, towards all boundaries and
laws, which are of cosmic nature (Chaos has no boundaries and laws). JarnvicJr could
be looked upon as the sphere of the black moon; where the demon-mother procre-
ates her kin, a portal to the dark powers - to the anti-cosmic and dissolving impulse.
Esoterically speaking, I see the thurses as parts of the impulse; in their highest as-
pects maybe the whole impulse - what Chaos* formless energies have been bound
into, or bound them into.

The impulse can allegorically be pictured as a storm of anti-cosmic powers, which
the ON mythology explains with the hordes of demons, werewolves, thurs -wolves,
thurses and all kind of monsters storming out of Jarnvidr when the war-cry of Ragna
Rok echoes throughout the dark forests of the Old One. 1

I want to remind you that Gullveig-AngrbocSa is seen as
the mother-goddess/giantess, and as HeicJr she takes the
form of the witch-aspect and becomes the giantess of black
witchcraft. She is the witch who walks the earth around the
farm-houses under the name Heidr, and teaches "wicked"
women the dark runes and seiSr. As the keeper of Jarnvidr
and procreator of the thurs-monsters she goes under the
name AngrbocJa and is called "She the Old One" - In Aldna.

1 It's not just from Jarnvidr, in
the sagas the whole world is at-
tacked from the underworld
and Jotunheimr by this impulse
of malevolent thurses. I get the
image of the Chaos-ocean
flooding the universe from all
its corners.

•:~ ;

This shows that she bears the mother- and the witch-aspects. Additionally, it
shows that she is linked to the moon, the wolves, and werewolves.

LILITH

come,

ere are even incest-related
most famous children are
= giant wolf, and a giantess

I would like to mention that Lilith had been worshiped for more than at least two
thousand years before the German mythology and worship appeared, and that we
have to bear in mind that the Germanic religion derives from places like for example
Mesopotamia and Hellas. Liliths name appeared at the earliest in the Sumerian king
list approximately from 2400 BC. Lilith is the female goddess of darkness, the bride
of Satan. She is the first wife of Adam who refused to submit to masculine domi-
nance because she claimed to be equal — and by her rebellious flame she rejected

119

GULLVEIGARBOK

1 Patai,

Goddess.

Adam and voiced the secret name of God and took off to the deserted lands at the
Red Sea where lecherous demons dwelt. At this place she stayed and bore demonic
hordes of hundreds of demons every day. This successful rejection of submission
and utterance of enormity towards God could without difficulty be seen as analo-
gous with Gullveig's exodus from the world (Midgardr) to the underworld (Jarn-
vidr) away from God's residences. Gullveig refused to be overpowered, and as she
was reborn every time the gods killed her, she obviously showed them that it was
impossible to overpower her; thus her ceaseless repellence of submission. To com-
pare the utterance of God's secret name is probably too farfetched, and it might be
too mystical as an allegory, but Gullveig's seering of the god's (dsir) and the cosmos*
apocalypse could be compared in the symbolism of the action of stupefying the po-
sition of God, to gain the result of deadening and weakening.

So she migrated to the dark land called Jarnvidr, just like Lilith, and there Gullveig
bore swarms of demonic monsters, looked upon as the world-destroyers, just like the
spawns of Lilith are called the plagues of mankind. On the note of procreation of
demons it is important to bring up the detail that Lilith is called the soul of all the
beasts, and Gullveig the mother of all wolves and werewolves. Another interesting
detail in this context is that some believe that Lilith lived in a cave in the deserted

land by the Red Sea. An ancient Mesopotamian tablet says
about Lilith: "Oh, Flyer in a dark chamber" 1 , which could be
imagined to have been a cave. A cave could be a symbol of a
place in the underworld, "within the earth" which connects her
abode with Gullveig's Jarnvidr, which lies in the underworld.
This reminds me of what Jacob Grimm once said: "for a cave covers, and so does
the nether world." This metaphoric comparison brings another myth about Lilith
to mind; it is when Lilith and Adam were created as one and Liliths soul was lodged
into the Great Abyss. This Great Abyss could be mythologically equated with the
Old Norse underworld, which is many times explained as being an abyss. The same
goes, as I understand it, for what the Jewish mythology calls "The Other Side."

1990, The Hebrew

stormed out to sea. This nr
power. In another saga it
bears ships amongst storm
husbands throughout die .
upon being the same as G 1

As I have stated earlier
and destruction; she cam*
cient people called Fra Au
sophically I would say that
malicious impulsion and ]
and black magically. How
that Lilith is in fact the so]
the "fruit" here being a
brother. Gullveig is not res
ual persuader, but V# I

Lilith is also said to ha
many in number. This
bore her son Fenrir

Lilith is said to have been initially seen as a storm demon associated with de-
structive winds and to be a spreader of disease and death. This is strongly analogous
with Gullveig's aspect as a "giantess of the eastern (sea) storms." This mythological
aspect of Gullveig comes from her role as Hyrrokin, who gets called upon at Baldr's
funeral by Odinn himself, as not even the strongest ass of them all (t>orr) could
manage to move Baldr's funeral ship to put it out to sea. Gullveig came from the
east (it's where her abode Jarnvidr is said to be located) as Hyrrokin, riding on a
giant wolf (pursulfr), and with one hand she lifted up the ship and blew on it, and it

It is also said that Li

and thereby bore his
sometimes "ascend
stand* 1 . This ascension
world below, and as a
they ascended from the
Jveig and her hosts

120

GULLVEIG AND LlLITH

deserted lands at the
stayed and bore demonic
rejection of submission
liculty be seen as analo-
the underworld (Jarn-
lifupowered, and as she
showed them that it was
of submission. To com-
e:ched, and it might be
i {<tsir) and the cosmos'
m of stupefying the po-

Lilith, and there Gullveig

-destroyers, just like the

note of procreation of

called the soul of all the

. Another interesting

wed m a cave in the deserted

potamian tablet says

amber" 2 , which could be

; ould be a symbol of a

.".which connects her

inch lies in the underworld.

>r i e covers, and so does

ES another myth about Lilith

e :r: Lilith s soul was lodged

bo logically equated with the

1 as r emg an abyss. The same

jjr calls "The Other Side."

em on associated with de-
th. This is strongly analogous
orms." This mythological
ho gets called upon at Baldr's
K5 of them all (t>orr) could
Gullveig came from the
ed i as Hyrrokin, riding on a
he ship and blew on it, and it

stormed out to sea. This myth connects her with eastern storms and feared feminine
power. In another saga it is said about Gullveig: "Gymir's primevally cold witch
bears ships amongst storming waves in the jaws oL$igir." Gymir is one of Gullveig's
husbands throughout the myths, and^Egir is an ocean giant, and he is also looked
upon being the same as Gymir.

As I have stated earlier, Gullveig is also looked upon as a giantess of diseases, death
and destruction; she carries this out in the world in the form of something the an-
cient people called FrceAurboftu, Aurbooa's Seed - the carrier of the poison. Philo-
sophically I would say that this "seed" could also be compared to the nocturnal and
malicious impulsion and persuasion Lilith has on both men and women, sexually
and black magically. However, the seed might be analogous mostly to the theory
that Lilith is in fact the serpent that offers Eve the fruit from the tree of knowledge,
the "fruit" here being a symbol of a seed that impregnates Eve with Qayin and his
brother. Gullveig is not really mentioned anywhere in the Old sagas as being a sex-
ual persuader, but Veluspd tells us this:

Heidr her name was,

to houses she came,

the seeress with accurate prophecies.

She wielded witchcraft,

she conjured disease,

she invoked Leikin,

always was she loved

by wicked women,

Lilith is also said to have "attached herself to" Qayin and bore his demon-children,
many in number. This correlates perfectly with the myth of JarnviSr, where Gullveig
bore her son Fenrir's children, many in number. As it is said in Veluspd:

In the east in Jarnvidr the Old One sat,
and there bore Fenrir's offspring.

1 Patai, 1990, The Hebrew
Goddess.

It is also said that Lilith forced herself upon Adam, against his will,
and thereby bore his children (demons, spirits and Lilin), and they
sometimes "ascend from that earth to this world upon which we
stand" 1 . This ascension must mean that these demons, spirits and Lilin came from a
world below, and as a metaphor and mythological comparison I take this as that
they ascended from the underworld - the Other Side. This again is analogous to Gul-
lveig and her hosts of children in the underworldly dominion of Jarnvidr. Here are

121

GULLVEIGARBOK

some Old Norse thursian analogies: demons; ONflegd, spirits; ON andar, Lilin;
ON Jdrnvidjur.

Lilith is also believed to be Samael's twin-sister and mate, and they were em-
anated as one below the "Throne of Glory" as androgynous beings. The Teutonic
Germans were obviously very inspired by this while the Germanic mythology was
taking shape. Gullveig and Loki, which are the most known vicious husband and
wife within the northern tradition, are mates and they had both a known androgy-
nous nature.

About the moon, Lilith is explained as being connected to the moon, and the
moon phases being a symbolism of her transformation. Gullveig is connected to
the moon as a mother of demons in the forms of wolves (pursulfar) , and her wolf-
children are hunting the moon and the sun to devour them, attempting to destroy
the world. The complex system of Qabalah and KlifFot, and the lunar connections
to Lilith cannot be compared with Gullveig, as the Old Norse tradition did not have
that kind of a complex system of gods and demons. Neither was Gullveig ever men-
tioned as being connected to the moon directly.

THE DARK FEMINE

I have endeavored to she
dess in the Old Norse tra<
form of the goddess is \m
aspects in analogy with L
and tradition, where Lilr
Lilith, and the OI word a
the same Ama in the
lveig in the sagas, bat as
mythos I would say it wo<
Furthermore, accordir..;
Gudinnan INordisk\fyta
a pre-Viking era. I haw m
elsewhere; regardless,
called Lilith-Taninsam,
name that represents son
son/ daughter Jo

• inn

122

rits; ON andar, Lilin;

THE DARK FEMININE NEXUS

and they were em-
beings. The Teutonic
e Germanic mythology was
r. ; - irious husband and

bete.: : .: the moon, and the
■l Gullveig is connected to
r>utfar) f and her wolf-
attempting to destroy
the lunar connections
tradition did not have
is Gullveig ever men-

I have endeavored to show that Hel is the younger form of the dark feminine god-
dess in the Old Norse tradition; where she is the daughter. The elder dark feminine
form of the goddess is her mother Gullveig. With this proven, they are in certain
aspects in analogy with Lilith and her daughter Naamah in the Kliifotic mythology
and tradition, where Lilith is sometimes called Ama Lilith which means Mother
Lilith, and the 01 word amma, mother or grandmother, is obviously connected to
the same Ama in the old name of Lilith. Amma has never been connected to Gul-
lveig in the sagas, but as a mother-giantess very closely connected to the Lilith
mythos I would say it would be correct to give Gullveig the epithet Amma Gullveig.
Furthermore, according to Gunnel and Goran Liljenroth in their book Den Gomda
Gudinnan I Nordisk Mytologi (1995) Hel was called Ama in
a pre-Viking era. I have never come across this information
elsewhere; regardless, it is very interesting. Lilith is also
called Lilith-Taninsam, Lilith the poisonous serpent 1 , a
name that represents something similar to Gullveig and her
son/ daughter Jo rmungandr 2 .

1 Temple of the Black Light,
2002, Liber Azerate.

1 Her serpent child connects
her to serpents and dragons, as
her children represent hers and
Loki's aspects. Remember that
both Fenrir and the Serpent of
Midgard possess epithets that
end with -gandr, a word repre-
senting divine monsters as in
wolves, serpents, and dragons.

123

Gullveigarb6k

This interpretation
Jarnvior s role throi
told in Vbluspd:

Its very hard to put iron into place in the context of this book, and I have thought
long and hard in order to be able to really understand why Gullveig s final abode
would be called the Ironwood, Jarnvidr, and I'm still bewildered. I will first present
sundry theories that I've come up with concerning the name Jarnvidr - even if some
of them might seem a bit far-fetched - and then I finalize with my conclusions.

It's easy for one who follows the left hand path to think impulsively of traditional
black magic where iron corresponds to Mars and the color red - iron is an attribute
of the Egyptian god Set, the Roman war god Mars, the Greek Ares, and the Baby-
lonian god Nergal: gods of war, the underworld and the dead, as iron most often
reflects weaponry and bloodshed. Rust with its reddish color has a resemblance
with coagulated blood and iron has been for long been connected to blood as it
smells and tastes like iron. As for rust, it has been thought of being pestilent, in mag-
ical symbolism. To a certain extent this is analogous to Gullveig s complex character;
it's probably misleading to call her a war-giantess, but she is the instigator of the re-
bellion of the thurs-race, the rise of Ragna Rok, as she and Loki are the ones who
trigger this downfall of the worlds. However, the sagas are not directly calling her a
war-giantess, neither a leader of wars, but indirectly representing her as one, and
concerning the/o/fcwg-mythos in connection to her name she is definitely an out-
come of war. She is coming to this world as three horrible thurs-giantesses and
bringing its doom with her; she is in ON symbolism the very essence of the femi-
nine destructive principle, and in ally with Loki they both constitute the absolute
destruction - the bloodshed and the curse which Odinn and his brothers brought
upon the cosmos the day they killed and slaughtered "fonir. Thereby Gullveig rep-
resents war and bloodshed as it is a means for her purpose and existence.

This brought me to make the same discovery Rydberg did; in Hdvamdl Rydberg
noticed a detail, and it's the name of a giant called Asvicir, which most likely belongs
to the giant called "the friend of the gods", Mimir. And according to Rydberg, Asvicir
and Asvinr are the same word, meaning ass-friend, which caught my interest. It
means that the ON suffix -vidr could mean "friend", and that gives a new approach
to Jarnvidr; which in this interpretation could mean "iron-friend" /"friend of iron".

"Iron-friend" in my

battle" or something sin

spawn the monster-legions

nr a]
boa

storm out from this dark
spawned for that reason. Fi
of war" corresponds ver

both Gullveig and Fenr-r
ever, they are not menti

It is pretty clear that th<
something deadly, strong
of the Iron-shoe" after the :
for his one shoe so he cool
of Baldr we find tha
took that oath from e
of the things that is menti
portant enough to be wor
of the Old Norse peoj
pie stronger than the moa
and blamed for having Id
Lyngvi, the cesir tool
turned into iron - these so
mighty Old Norse peopk
most powerful thurs
the strongest materials kc

Another theory of min
the analogies in Gu
connect them more than
ical origins. First I want t

124

JArnvibr

and I have thought

Gullveig s final abode

I will first present

Jamvidr - even if some

with my conclusions.

Tipulsively of traditional
: . : - red - iron is an attribute
e Greet Ares, and the Baby-
tbc dead, as iron most often
isfc ior has a resemblance
en connected to blood as it
jr.: : : ~eing pestilent* in mag-
ig s complex character;
: > the instigator of the re-
id Loki are the ones who
not directly calling her a
eppesenting her as one, and
ane she is definitely an out-
MTible thurs-giantesses and
lie verv essence of the femi-
both constitute the absolute
nn and his brothers brought
nir. Thereby Gullveig rep-
pose and existence.

;rg did; in Hdvamdl Rydberg

which most likely belongs

- : oiding to Rydberg, Asvidr

i caught my interest. It

id that gives a new approach

in»-friend"/"friend of iron".

This interpretation is not far from the analogies concerning Gullveig s name and
Jarnvidr s role throughout the whole mythology especially at Ragna Rok, as it is
told in Veluspd:

The ship (Naglfar) comes from the east,
over the sea the Muspell's Sons shall come,

and Loki steers.
Monster's spawn will follow the wolf.

"Iron-friend" in my opinion has strong arguments in meaning "warrior" "happy
in battle" or something similar. It would explain its purpose in the mythology: to
spawn the monster-legions in preparation for Ragna Rok. It is told in the sagas that
both Gullveig and Fenrir are producing monster-progeny in Jamvidr; armies. How-
ever, they are not mentioned elsewhere in the myth but at Ragna Rok, when they
storm out from this dark place - which gives me the feeling that they are only
spawned for that reason. Furthermore, Gullveig s name which could mean "goddess
of war" corresponds very well with a place like this.

It is pretty clear that the pre-Christian Scandinavian people interpreted iron as
something deadly, strong and dark. They called the ass-god Viciarr "the possessor
of the Iron-shoe" after the myth in the Edda where everybody saved their shoe-sole
for his one shoe so he could step on Fenrir s lower jaw. In the myth about the killing
of Baldr we find that Frigg took an oath of iron (actually the text explains that she
took that oath from everything in the universe but the mistletoe - but iron is one
of the things that is mentioned and thereby one of the more important things, im-
portant enough to be worth mentioning). Furthermore, we have a prime example
of the Old Norse peoples' distinguishing of iron as something strong; in this exam-
ple stronger than the most feared giant Loki. It is told after Loki had been caught
and blamed for having killed Baldr and been sent to imprisonment at the island
Lyngvi, the asir took his sons bowels and tied him down with them, and the bowels
turned into iron - these shackles kept Loki bound until Ragna Rok. This shows how
mighty Old Norse people thought iron was. If iron could tame the strength of the
most powerful thurs of the underworld it must have been looked upon as one of
the strongest materials known to them.

Another theory of mine is the one related to the myths about Lilith. As I can see
the analogies in Gullveig and Lilith s mythologies and in their essence, some things
connect them more than what you first think when you study both their mytholog-
ical origins. First I want to remind you of how Gullveig came to dwell in the dark

125

Gullveigarb6k

place called Jarnvidr,* after the dsir supposedly had captured her for the third time
in her new disguise they realized that they could not kill her, and thereby banished
her from all worlds above the underworld 1 , and for obscured reasons her place in
the underworld was called Jarnvidr. (The myth that Gullveig was banished from the
gods and humans' worlds by Ociinn is not to be found in the ON sagas but in Saxo s
medieval books, a hypothesis assumed to be true but for me very doubtful. Rydberg
explains: "That the woman who in antiquity, in various guises, visited Asgard and

Midgard was believed to have had her home in the Ironwood
of the East during the historical age down to Ragnarok is ex-
plained by what Saxo says - viz., that Odin, after his return and
reconciliation with the Vans, banished the agents of the black
art both from heaven and from earth. Here, too, the connection
between Gullveig-Heid and Angurboda is manifest. The war
between the Asas and Vans was caused by the burning of Gul-
lveig by the former. After the reconciliation with the Asas this
punishment cannot again be inflicted on the regenerated witch.
The Asas must allow her to live to the end of time; but both
the clans of gods agree that she must not show her face again
in Asgard or Midgard." 2 The reason why I doubt this myth
about Gullveig being banished by OcJinn after being burned
three times to be true is that why would they all of a sudden be
able to banish her from their worlds when they have been lack-
ing the necessary power to do this before? It just does not make
any sense to me. Whether she had always had this dark place
or not is unknown to us today, but I must say that it makes
much more sense that she has always had the place called Jarn-
vidr as her abode.

Bound is re
bound is the
bound is tte
with a chain
with fetters of

1 It does not directly state in the
sagas that the Ironwood lies in
the underworld, but it does says
that it lays in the east of Mid-
gardr, and to the east of MicS-
garcJr lays the underworld. If
you read the text that only
refers to the underworld with
no mention of the upper
worlds, passages 34-40 in
V0luspd, it describes different
places in the underworld and in
which cardinal points they lie,
e.g. a river called Slidr conies
from the east (36) and Slidr is
one of Hvergelmir s eleven un-
derworld rivers (Grimnismdl
28, Gylfaginning4), in the north
lie the fields of darkness called
Nidavellir (37), and in the east
in Jarnvidr the Old One sat
(40). Indirectly these coherent
stanzas say that Jarnvidr lies in
the east in the underworld. So
the Ironwood must lie in the
underworld.

2 Rydberg, Investigations into
Germanic Mythology, Part I.

3 In the mythology and in Old
Icelandic called Flagd/FUgd
and Troll.

This short conclusion of Gullveig s "banishment" and moth-
ering of "demons" 3 is anyhow very similar to Liliths mythology
and origin, and I suspect that it is the myth of Lilith that in-
spired Saxo s account of Gullveig s "banishment". Lilith was
banned by God and cast into the depths of the sea, also allego-
rized as the Great Abyss; which could be compared with the
depths of the underworld where Gullveig was metaphorically
"cast" by OcJinn. There was also the common knowledge that
Lilith could be bound by iron in the ancient times. A good example of this, one of
many, is found on a bowl found in Persia, probably from 600 AD; the old incanta-
tion is meant to force out Lilith s hauntings from the owner s house and to bind her:

:.l

The understanding

me come to the com

of how to bind evil in

was huge in Eastern

still is, and it most cei

Europe and brought tr

north where the Old &

fluence is evidently sh<

iron fetters on the islam

Amsvartnir. Three times tfa

ters; the two first fetters Fa

had a similar fate when th

Loki and they seized "-

made from the intestines o

his furious son Fenrir on tl

unveiled of her evil and des

ever, she was not bound u

for the dsir, which make

demons and "evil" with, e*

iron, could this have been

superstition that gho- -

example it is a tradition to

within the cemetery. Ironn

Something similar is ii

mdl 13: Atli says here thai

iron against witches or tn

Loki and Sif s hair, when

dwarf is about to win the

dwarf just so that he cannc

to £6rr and become the 1

krimpursum» (Skdklskap

making this powerful iron

symbolically delimited by

126

JArnvidr

Ttnred her for the third time
ill her and thereby banished
twcured reasons her place in

was banished from the
n the ON sagas but in Saxo s
ne very doubtful. Rydberg

es. visited Asgard and
i her home in the Ironwood
sge down to Ragnarok is ex-
lat Odin after his return and
idled tne agents of the black
th. Here, too, the connection
- " " 'is manifest. The war
. _ : ■. : r the burning of Gul-

ion with the Asas this
ted on die regenerated witch.
o the end of time; but both
nst not show her face again
I doubt this myth
'inn after being burned
ioold they all of a sudden be
k when they have been lack-
r f : : . " It just does not make
d ah s had this dark place
«t I must say that it makes

i the place called Jarn-

banishment" and moth-
similar to Lilith s mythology
i the myth of Lilith that in-

'banishment". Lilith was
lepths of the sea, also allego-
ould be compared with the

Jveig was metaphorically
:e ;ommon knowledge that
: - example of this, one of
m 600 AD; the old incanta-
oer > house and to bind her:

Bound is the bewitching Lilith with a peg of iron in her nose;
bound is the bewitching Lilith with pincers of iron in her mouth;
bound is the bewitching Lilith, who haunts the house of Zakoy,
with a chain of iron on her neck; bound is the bewitching Lilith
with fetters of iron on her hands; bound is the bewitching Lilith

with stocks of stone on her feet... 1

1 Patai, 1990, The Hebrew
Goddess.

The understanding that Lilith could be bound by iron made
me come to the conclusion that this is probably the foundation
of how to bind evil in general. The fear of Lilith and her Lilin
was huge in Eastern Europe in the elder times, and probably
still is, and it most certainly influenced the Germanic people who travelled through
Europe and brought the mythological and religious influences with them to the
north where the Old Scandinavian religion was under development. This strong in-
fluence is evidently shown in the ON mythology as Fenrir was bound by magical
iron fetters on the island called Lyngvi in the middle of the black ocean called
Amsvartnir. Three times the aesir had to ask the dwarves to make these magical fet-
ters; the two first fetters Fenrir sprang lose from, because of his thurs-strength. Loki
had a similar fate when the dsir finally understood the anti-cosmic intentions of
Loki and they seized him and bound him with magical iron fetters which the sesir
made from the intestines of Loki s own son. They put Loki in the same location as
his furious son Fenrir on the island Lyngvi in Amsvartnir. Gullveig was eventually
unveiled of her evil and destructive plans and was captured also, as told above. How-
ever, she was not bound in fetters, probably because her magic was too powerful
for the dsir, which makes a lot of sense. As iron has been used to capture and bind
demons and "evil" with, even to trap demons or evil spirits by enclosing them with
iron, could this have been the case with the Jarnvidr? I am thinking about the old
superstition that ghost, souls, witches etc., are driven back with "cold iron" and for
example it is a tradition to surround cemeteries with iron fences to keep the souls
within the cemetery. Iron was also used to keep evil out, i.e. from Christian churches.
Something similar is said in Helgakvida Hjorvardssonar, more exactly in Hrimgerdar-
mdl 13: Atli says here that the fleet has ON jdrnborgir, which is here a defense of
iron against witches or troll (fdlur). This view of iron is not far from the myth of
Loki and Sif s hair, when Loki had made a bet with the dwarf Sindri, and as the
dwarf is about to win the bet Loki transforms himself into a fly and "stings" the
dwarf just so that he cannot finish his powerful iron hammer, which would be given
to l?6rr and become the best defense against the rime-thurses, «tnest vorn ifyrir
hrimpursum» (Skdldskaparmdl 43). Loki is here trying to make the dwarf fail in
making this powerful iron weapon. All this could be compared with the wood being
symbolically delimited by iron to keep the evil within it. It might have been a region

127

GULLVEIGARBOK

magically imprisoned metaphorically by iron - they basically tried to make a prison
of iron which they thought could confine Gullvieg. But just like her equal, Lilith,
she was too powerful to be imprisoned or banished, she always came back for her
immortal purposes:

Thrice burned,

thrice born,

oft, not seldom,

yet she still lives.

But there are a few things that still bother me with this hypothesis. First, the ac-
tion of imprisoning Gullveig is not really of an ON mythological nature, because it
is not like any other confinement that you can find in the ON literature. Loki and
Fenrir got bound and kept in a cave, but according to the hypothesis above Gullveig
supposedly got kept in a region, called the Ironwood, free to do whatever she
wanted, e.g. having thursian offspring with her son Fenrir many in number. Indeed,
nowhere in the ON sagas is it told that she got imprisoned or cast down into such
confinement. Also, if she got imprisoned against her will in JarnvicJr, how was it pos-
sible for Gullveig to appear at Baldr s funeral to the dsir's aid? This is what makes
me so uncertain in what this wood of iron really is.

Iron has many different meanings in traditions and folklore around the world.
But something that most old cultures have in common is that iron symbolizes evil
and darkness; destruction in a sense, as the iron was used mostly for weapons. Gul-
lveig-AngrbocJa is actually Chaos' weapon within the alien creation called the cos-
mos, and she and her spouse and ally Loki are the spearheads who shall pierce the
heart of the demiurge and his creation: the iron seen as a metaphor for the thurs-
essence which was born out of the ore (Chaos). This process of iron could also be
symbolized as a birth and transformation, and is again connected to the function
of Gullveig as the mother- giantess. To compare all this and the Ironwood with a
blacksmith and his workshop, the allegorization of a dark and evil place for a
mother-giantess to procreate evil is very fitting. She spawns werewolves there; the
transformation of Chaos-powers allegorized by wolfish monsters. To understand
the symbolism of iron and transformation a bit better you can study the mythos of
the thurs I>jazi; the most excellent blacksmith in the Old Norse mythology, his
magic was unconquerable and he transformed himself from the entity Valand into
the wrathful thurs Ejazi. Iron born of ore (into weapons and tools) could be seen
as the symbol of production and destruction. So if we see her abode or region as
the place of darkness where evil is continually generated, the name Ironwood all of
a sudden makes very much sense.

The iron-scythe is the
weapon of destruction.

The Gylfaginning
Ironwood; they are called Ja
gives me a feeling that :ne p
plain a certain aspect of the
itants in my theory b. ^ :
essence, not the law of the r
word jam, isarn t it is acr^alh
which I found very intercom
and not have any etymologj
earn within its body. We
steel, this is an old folklork
felt very cold and in ;
common knowledge even n
allels between ice and iron.
tween ice and iron; the col
swords, and their silvery res
a much deeper and extender
ered through the ages. Ism
hrimpursar, it may even ban
only speculations of course
do not put an end to it Any
version of the word isarmri&i
much better with the inhah
my theory, connect them t
thurses, and as Gullveig s ch
saga says that the Jarnvidjur
gygr. With this hypothesis ti
of the rime essence; a dar>
connected to the depti
heimr in the underworld
extreme winters and i« - -

128

JArnvidr

i * w^ tried to make a prison
r - .: -. like her equal, Lilith,
> r. = i /ays came back for her

The iron-scythe is the symbol of transformation: the tool of production and the
weapon of destruction. After Gullveig s seeds are spread the iron-scythe will shed.

s hypothesis. First, the ac-

thological nature, because it

e ON literature. Loki and

► the hypothesis above Gullveig

r : : : tree to do whatever she

rniir many in number. Indeed,

-•d or cast down into such

will in Jamvidr, how was it pos-

- aid? This is what makes

and folklore around the world,
r. : ~ : ? that iron symbolizes evil
I used mostly for weapons. Gul-
r.e i en creation called the cos-
ipeameads who shall pierce the
en as a metaphor for the thurs-
bs process of iron could also be
connected to the function
s and the Ironwood with a
: a dark and evil place for a
e spawns werewolves there; the
©Irish monsters. To understand
tier you can study the mythos of
i the Old Norse mythology, his
lsek from the entity Valand into
sapons and tools) could be seen
if we see her abode or region as
erited, the name Ironwood all of

The Gylfaginning saga tells us in short about the troll-women that inhabit the
Ironwood; they are called Jarnvidjur: «par trollkonur er Jarnvidjur heita». This name
gives me a feeling that the prefix jam- is an adjectival form which is suppose to ex-
plain a certain aspect of the characters; Jarnvior the land and Jarnvidjur the inhab-
itants in my theory being an allegory of the inhabitants' mythological functional
essence, not the law of the region. If we take a look at the older spelling of the ON
word jdrn, isarn, it is actually a combination of the ON words iss, ice, and earn, iron,
which I found very interesting in this case. This might of course just be a coincidence
and not have any etymological authenticity at all, but isarn does have both iss and
earn within its body. We all have most certainly heard of the saying cold iron or cold
steel, this is an old folkloric saying which was supposed to mean that iron always
felt very cold and in folklore was known to ward off ghosts and spirits. This was
common knowledge even in Old Scandinavia and there seem to have existed par-
allels between ice and iron. As allegories in poetry I can see many similarities be-
tween ice and iron; the coldness, the deathly aspect, icicles look like daggers and
swords, and their silvery resemblance. It is not impossible that the word isarn had
a much deeper and extended meaning in the ON language, a meaning that has with-
ered through the ages. Isarn might have been connected to the rime aspect of
hrimpursar, it may even have been seen as another usage of the word hrim. This is
only speculations of course and with allegorizations you can take it very far if you
do not put an end to it. Anyhow, if the ON word jdrnvidr is an outcome of an older
version of the word isarnvidrwe have something very interesting, because isarn- fits
much better with the inhabitants' name Jarnvidjur. Isarnvidjur would, according to
my theory, connect them to the rime aspect as in rime-thurses, because they are
thurses, and as Gullveig s children they must be of the rime essence too; Gylfaginning
saga says that the Jarnvidjur are the children of the old giantess - Gullveig - ingamla
gygr. With this hypothesis the Ironwood might have meant to be seen as the region
of the rime essence; a dark and cold place deep in the eastern part of the underworld,
connected to the depths of Niflheimr (I believe Jarnvior lays directly above Nifl-
heimr in the underworld, so the Nifl-cold most certainly affects Jarnvior with eternal
extreme winters and ice - see my chart Heldrasill in the appendix), a place where

129

Gullveigarb6k

ice is so old and primitive that it is as solid as iron and even shimmers like iron -
the shade of silver. The usage of the word iron in the name Jarnvidr would have
meant "the ever cold" as iron seems to always be cold. It's very important to remem-
ber that the authors of the sagas in Old Scandinavia were very much into explaining
all elements and entities in deep metaphors; their allegories were often so complex
it is hard to translate and understand their full meanings today. To use iron for a
metaphor for ice would be a reasonable thing to do. Snorri tells us that this connec-
tion was noticed in Old Scandinavia, as he tells us in Gylfaginning 11:*... horses that
drew the chariot of the sun, which the gods had fashioned, for the world's illumi-
nation, from that glow which flew out of Muspellzheimr. Those horses are called:
Arvakr and AlsvicJrj and under the shoulders of the horses the gods set two wind-
bags to cool them, but in some records that is called 'iron-coolness'" 1 "Iron-coolness"
is called in OI isarnkol, much similar to what I just discussed.

GA1GVIDRAND GA

1 « ... hesta, er drogu kerru solar-
innar, peirar er godin hbfdu ska-
pat til atlysa heimana afpeiri &iu }
er flaug 6r Muspellsheimi. Peir
hestar heita svd, Arvakr ok
Ahvidr, en undir bogum hestanna
settu godin tvd vindbelgi at koela
pa, en i sumum fradum er pat
kallat isarnkol».

2 "In the east sat the Old One in
the Ironwood and gave birth to
Fenrir's children."

3 "A giantess lives to the east of
MicJgardr in the forest which is
called Jarnvidr."

Skadi is called a Jarnvioja, and she is the daughter of the
rime-thurs Pjazi, he who evoked the three terrible winters
(fimbulv0tr) that would be the beginning of Ragna Rok. Is this
not an obvious "coincidence", that the wrathful thurs who is
one of the most dangerous antagonist to the sesir and the
worlds, and who use winter and ice as weapons, is the father
to a Isarnvidja? And as SkacH s mother is not known, and that
Jarnvidjur are said to be of the Old one in Jarnvidr, who might
her mother be?

There might be a confusion about the location of the Iron-
wood; it's easy to get the impression that it dwells somewhere
in the upper Jotunheimr next to Miogaror. However, that is
impossible as it is told that the Ironwood lies in the east of
Midgardr, and only the underworlds lie there: a) Veluspd 40
«austrsat in aldna ijdrnvidi okfaddiparFenris kindir» 2 , b) Gylfaginning 12 «Gygr
tin byrfyrir austan Midgard ipeim skogi, er Jarnvidr heitir» 3 (please see my chart of
the Heldrasill in the appendix). This proves that the Ironwood is located in the un-
derworld.

:r.e
above him in

epithet for Jarnvidr, even t
t^t and thoughts on the s

GiJgindr, which i
I re.£^
(poetic ) anything
aid the OI word go^n
to support this. Altho

tnak S^tnatndar EddOf
rt§f- would n t in.

meet

"I made you a gallows for j
<mkmil i i hrafnar shdu fra

shall on high
would

gs&rz and vargtn

Odinn is known to be
p~ etc n mwhex

mgatyr. etc. . all

- i

130

JArnvidr

id even shimmers like iron -

c name Jarnvior would have

important to remem-

much into explaining

*: - es /ere often so complex

lings today. To use iron for a

M :: tells us that this connec-

• . -.: : wig 11:"... horses that

uoned. for the world's illumi-

~- Those horses are called:

iorse> the gods set two wind-

n "Iron-coolness"

nd she is the daughter of the
aed the three terrible winters
beginning of Ragna Rok. Is this
that the wrathful thurs who is
itagonist to the aesir and the
,i . : -: as weapons, is the father
— : : er is not known, and that
one injamvidr, who might

bout the location of the Iron-
ssion that it dwells somewhere
to Nfidgardr. However, that is
le Ironwood Ues in the east of
worlds he there: a) Vetluspd 40
fcr*-. b) Gylfaginning 12 «Gfgr
batir— \ please see my chart of
- ./ood is located in the un-

GALGVIBR AND GAGLVIDR

In Veluspd 42 it is said:

Sat par a haugi
ok slo horpu
gygjar hirair,
gladr Eggfeer;
gol of hanum
i galgvidi/gaglvidi

fagrraudr hani,
sa er Fjalarr heitir.

"He, the giantess' herder, the happy Egg}>er, sat upon the heap and played on the
harp; above him in galgvidr called a light red rooster, his name was Fjalarr."

This mysterious word galgvidr/gaglvidr has been thought by many as being an
epithet for Jarnvidr, even by me, so I thought I would examine it; and here s my sur-
vey and thoughts on the subject.

Galgvidr, which only remains in Hauksbok, seems like an erroneous spelling of
gaglviSr. Rydberg connects galg- with the Greek word Xahcd^ (khalkos), copper,
also (poetic) anything made of metal; which seems reasonable depending on how
old the OI word galgvidr is. However, so far I have not seen any convincing evidence
to support this. Although, if galg- derives from OI gdlgi, the gallows, which it most
likely does, it sheds a whole new light on galgvidr. If we look at some parts taken
from Seemundar Edda, just like the word galgvidr, it is much easier to see how gdlg-

galg- would fit in. Grogaldr9: «efpigjjdndr$tandagdrvirdgalgvegi», "in case battle-
ready foes meet you on the gallows-way", Atlamdl in
granlenzhu 22 «gorvan hugda ekpergalga, gengirpu at hanga»,

I made you a gallows for you to hang in", and Fjolsvinnsmdl 45

horskir hrafnar skuluper d hdm galga slita sjdnir 6r», "wise
ravens shall on high gallows tear your eyes out." By this, gal-
gvidr would mean "gallows tree", synonymous to the OI gdl-
gatre and vargtre, gallows-tree 1 .

1 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary, and
Heggstad, Hodnebo, Simensen,
2008, Norren Ordbok

Odinn is known to be analogous to the gallows-tree after Hdvamdl 138, Ynglinga
Saga 7, etc., from where he got the epithets Galga Farmr, Galga gramr, Galgavaldr,
Hangatyr, etc., all denoting "god/ruler of the gallows." Now why would Egg{>er sit
under a gallows-tree and Fjalarr on top of it crowing? Well, it does not have to be

131

GULLVEIGARBOK

too deep as an allegory, we already know the full myth about Fjalarr s intent to visit
Eggf>er, and it is to collect the magical sword Gambanteinn for Fjalarr s father Surtr,
the sword that EggJ)er guards and looks after as it is hidden deep within Jarnvidr. 1
The kenning gygjar hirdir refers both to Gullveig (the gygr) and EggJ^er (the hirdir).
If we would to allegorize a tree in Jarnvidr, a gallows tree would actually fit very well
in a dark underworld forest full of malignant and hateful werewolves, troll and
thurses. Not to forget, haugr in ON was also a grave, and since EggJ>er, the herder
of the giantess-witch who helped plan the men, gods, and worlds' downfall, sat
under a gallows-tree on a haugr to protect the sword that will burn down the world,
I would say that the author tried to add a deathly aspect to the Veluspd stanza 42.

1 Loki explains this in
Lokasenna 42: «Gulli keypta
leztu Gymis dottur ok seldir pitt
svd sverd; en er Muspells synir
rida Myrkvid yfir, veizt-a pu pd,
vesall, hvi pu vegr». Where
Gymis ddttur is GercSr, the
sword, sverd, is Gambanteinn,
Myrkvidr is analogous to Jarn-
vicSr, and Muspells synir is refer-
ring to Fjalarr, in Voluspd 42,
and his assumed company.

Gaglvidr, which is found in Codex Regius, means literally
goose tree or wood, and considering the Veluspd stanza above
which the word is taken from, goose has nothing to do with
its contents, so it must mean something else. According to
Egilssons Lexicon Poeticum (1931) and Cleasby-Vigfusson's
An Icelandic-English Dictionary (1874), the 01 word gag? was
typically used for various birds in poetry, e.g. Gagl is synony-
mous to raven as in gagl ognar, "gosling of battle", and Hmgagl,
Ndgagl, Blddgagl, and Valgagl, as well as puns like Gagls leid,
the air, Gaglfdr, enemy, and Gaglhati, enemy. These kinds of
epithets remind me of Hel's birds, the ravens and (carrion-)
crows connected to Gullveig. As a bird-epithet, this leaves me
with the hypothetical translation "bird tree" or "bird wood", and the sagas are full
of these "witty" epithets as the ON poets loved to be clever - it was/is an art. As I
understand it, the author simply chose a more poetic way of saying "tree", as the
rooster sat up in it and crowed, he called it a "bird-tree" (as birds normally sit up in
trees and sing in the woods).

Brate s Swedish translation of gaglvidr suggests that it would have to do with the
plant Bog Myrtle, which is taken from the above mentioned book An Icelandic-Eng-
lish Dictionary. Kock s hypothesis is that gagl would come from the German word
gagel (in Latin Myrica Gale), but in my opinion it's at the same time not too far-
fetched, neither convincing.

Otfr

ANGRBOBA

I believe -boSa is L
- enger or foreboder 1 . da
in modern Swedish bud,
%iiich is the English ton
boda. And angr- is w
: e. So the name An err

AURBOBA

A i i r- has been most

pose the idea that it

m the ON prefix

in Swedish o-. In a

_Vfi :hology by Grin

z h Dictionan C

name of a giantess, HdL

/here she is called un

om aur- to at- did occ

Icelandic-English Diction

alent to her other name

the messenger of woej

HEIBR

Heidr means b
ne one who brings
that the Old Ic
probably derives

132

Kennings and Meanings

i about Fjalarr s intent to visit
rinn tor Fjalarr s father Surtr,
idden deep within Jarnvidr. 1
and Egg]?er (the hirdir) .
ee would actually fit very well
oteful werewolves, troll and
and since Egg^er, the herder
ad worlds' downfall, sat
bat will burn down the world,
cct : : the Veluspd stanza 42.

Codex Regius, means literally
amg the Veluspd stanza above
goose has nothing to do with
omething else. According to
and Qeasby-Vigfussons
I ~ - the OI word gagl was
in poetry, e.g. Gagl is synony-
ofbattle", and Hrcegagl,
as puns like Gagh leid,
:, enemy. These kinds of
■ds, the ravens and (carrion-)
s a bkd-epithet, this leaves me
*xxT, and the sagas are full
lever - it was/is an art. As I
be way of saying "tree" as the
as birds normally sit up in

at it would have to do with the

-- :ned book An Icelandic-Eng-

ome from the German word

_t tne same time not too far-

JU*tHi*tA$ % ^feMH*MAf

ANGRBODA

I believe -boda is the feminine form of the ON word bodi, mes-
senger or foreboder 1 , derived from ON bud, which still remains
in modern Swedish bud, message, to bdda, bode as in forebode,
which is the English form of ON bodi, and in modern Icelandic
boda. And angr- is without doubt the ON word angr, grief and
woe. So the name Angrboda means "she the messenger of woe."

1 Reference; Cleasby-Vigfiisson,
1 874, An Icelandic-English Dic-
tionary, and Zoega's A Concise
Dictionary of Old Icelandic, see
under bodi.

AURBODA

Aur- has been most often taken as the ON word aurr, mud and wet sand; but I op-
pose the idea that it would stand for all words containing aur-. I believe it derives
from the ON prefix er-, which denoting a negative meaning as in English un-, and
in Swedish o-. In a few sources Aurboda has even been written 0rboda: see Teutonic
Mythology by Grimm, III, page 1 149 where he quotes Fjelsvinnsmdl 38, An Icelandic-
English Dictionary by Cleasby and Vigfusson under Qrboda where it is said: "the
name of a giantess, HdL, Edda", and Lexicon Poeticum 1860 under the word Qrboda
(where she is called uxor Gymeris; giganteae originis), etc. Indeed, the transition
from aur- to 0r- did occur; see for example under aurgdti in above mentioned An
Icelandic-English Dictionary. 0r-boda, Aurboda would then mean something equiv-
alent to her other name Angrboda: "she the bringer of bad tidings", or simply "she
the messenger of woe".

HEIDR

Heidr means brightness and as a name of the giantess it is "she the bright one" as in
"the one who brings enlightenment." The dictionary An Icelandic-English Dictionary
says that the Old Icelandic word heidingi, a heathen, could mean "a wolf" which
probably derives from the ON word heidr with the denotation "one who lives on

133

Gullveigarb6k

heaths and wildernesses." Heidr was also a common synonym for a volva, an ON
seeress or witch.

HYRROKIN

The denotation is "the flame smoked." The name is created from the Old Norse
words hyrr, fire, and rjtika, smoke; an epithet being made after the three times Gul-
lveig-Hyrrokin got held over a pyre by piercing spears and got flame smoked to
death.

rather a later cultus and c
evidence is lost, molderw
tianity, when it came to S<
die rest of the remammc i

why there is so little kno*
all the evidence of
and mysteries of die runes
is just a small percentage
stone-blocks, bracteates
and Scandinavian authors

GULLVEIG

First of all I would like to dig into the minds of the people from Old Scandinavia
and try to find out how they came up with the name, or rather the epithet, Gullveig
(Gulveig, Gullweig, Gullveg). The name is clearly a made-up word in an Old Norse
- at least north European - language. There are so many different explanations of

this name, and not one is like the other, so here I will inves-
tigate this and hopefully I will find the true meaning of the
beautiful carrier of so many hidden things.

1 Wessen, 1968, Svensk
Sprdkhistoria.

2 Later the countries of Scandi-
navia developed their own
runic languages which were de-
veloped through dialects of dif-
ferent parts of Scandinavia, as
they still were pretty much the
same sounding and looking.

3 Something tells me that they
also used techniques like paint-
ing runes and magical figures
on animal skin, bones, etc. (I'm
thinking about the Swedish
Samer which so carefully and
understanding^ have kept
much of our Old heritage and
traditions.) If you look into the
religious history in the ancient
times worldwide, this would be
common and credible. But this
is just my own speculation.

Until the Viking-age, people from Scandinavia were speak-
ing urnordiska - ancient Nordic. Urnordiska was a runic lan-
guage, and what we know of it was used approximately
between the years of 300 — 700 AD. After that it started very
slowly to show slight differences in the form of dialects in the
countries and places of Scandinavia 1 . It is safe to say that back
in that time the Norsemen had pretty much the same lan-
guage all over Scandinavia: the runic language 2 . It is very im-
portant to look into this in the investigation of names in the
mythology from that era, to be able to find traces of the an-
cient peoples' vocabularies and way of thinking. All the words
which have survived from the ancient times in the Scandina-
vian languages do not always have the same meaning today.

The hard thing about Urnordiska is that the Old Nordic
people only carved their runes in wood and softer natural
materials 3 ; some few occasions on stone-blocks (which were

OLD AND MODERN
WITH THE NAME Gl

Initially I will split up the
tions or understandings cc
into two word-stems:

The Icelandic has the
means "gold" "treason
noun, gull, which in
*lmevenness ,, ; and "mi
adjective gulur (^
other modern Icelan
and I would like to 1<
pdusott 2 in Icelandic.
the Icelandic word- |
£-sound and the kso\
in the ancient runic
letters "g and "k". So
different way: If 1 5
minds me of the name
supposedly the Old X*
I also remove the case
(gul-veig). The word
esting for me bee i - > f
: -ought by demons,
the demon) extra

134

>nym for a velva, an ON

::=_:. J from the Old Norse

the three times Gul-

got flame smoked to

Kennings and Meanings

rather a later cultus and custom) and in metallic items. This means that almost all
evidence is lost, moldered away by natural causes. There's a big chance that Chris-
tianity, when it came to Scandinavia in the early medieval times, made sure to burn
the rest of the remaining relics of antiquity of the Viking age Heathendom. This is
why there is so little known about the runic language, runes and its usage. Almost
all the evidence of witchcraft and magical use are lost, most of the hidden meanings
and mysteries of the runes have gone astray, the same goes for the mythology. There
is just a small percentage of surviving evidence left on a variety of materials e.g.
stone-blocks, bracteates, amulets and some few simplified writings in books by non-
and Scandinavian authors.

. e from Old Scandinavia
r rather the epithet, Gullveig
ide-up word in an Old Norse
any different explanations of
he other, so here I will inves-
- : i - e true meaning of the
Lie- tilings.

: ~ Scandinavia were speak-
- Urnordiska was a runic lan-
r it was used approximately

D, After that it started very
s in the form of dialects in the
ana . It is safe to say that back

pretty much the same lan-
ninic language 2 . It is very im-
mvestigation of names in the

?ie to find traces of the an-

ay of thinking. All the words
ncient times in the Scandina-
the same meaning today.

ska is that the Old Nordic
s in wood and softer natural
on stone-blocks (which were

OLD AND MODERN SCANDINAVIAN WORDS ASSOCIATED
WITH THE NAME GULLVEIG

Initially I will split up the name Gullveig and try to find any associations, connec-
tions or understandings concerning the meaning of her name. I will divide the name
into two word-stems; gul(\)- and -veig.

1 Gimnar Leijstrom and Jon
Magniisson, 1943, Islandsk-
Svensk Ordbok.

2 "Gulsot B in Swedish.

1 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary, and
Heggstad, Hodnebo, Simensen,
2008, Norren Ordbok.

The Icelandic has the noun gull which in modern Icelandic
means "gold", "treasure"; and "excellent person", and a second
noun, gull, which in modern Icelandic means "outgrowth"
"unevenness"; and "mouth cavity" 1 . There's also the Icelandic
adjective gulur (gul-ur), which means yellow. There is an-
other modern Icelandic word which has caught my attention
and I would like to look into, guluveiki, also called gula and
gulusott 2 in Icelandic, which means jaundice 3 . It derives from
the Icelandic words gulur (yellow) and veiki (disease). The
g-sound and the fc-sound are related and not far from each other. This was common
in the ancient runic language; for example: it was not odd to use the <-rune for both
letters "g" and "fc". So concerning the word guluveiki I just want to look at it in a
different way: If I split it up (stem \ case | st em \suffix) gul-u-veik-i, the word already re-
minds me of the name gullveig. If I then presume that the k was originally a g, or
supposedly the Old Norse people just thought of it as the same consonant, and then
I also remove the case (-w-) and the suffix (-i) the word would look like this: gulveig
(gul-veig). The word guluveiki and its association with the name gullveig is inter-
esting for me because it is a disease - seen by the ancients as a seed of the devil,
brought by demons, taught to witches: "I say that from the most potent poisons he
(the demon) extracts a quintessence with which he infects the very spirit of life, and

11*

Gullveigarb6k

so establishes his devil-made disease that human skill is hardly able to find a remedy,
since the devils poison is too subtle and tenuous, too swift and sure in killing, and
reaches to the very marrow of the bones." 1 Lilith is also known to be a wielder of
diseases, illnesses and death, and in my opinion Gullveig and Lilith are strongly
connected. The disease itself is just an allegory of the danger that the goddesses (and
gods) could bring. As I have shown above Gullveig was known to spread a disease

upon mankind called FmAurbodu, the destructive seed of Gul-
lveig, as she is the carrier of the poison. As in many other tra-
ditions, Gullveig was the mother of all monsters, and these
monsters were regarded as bringers qfsickness f and sent sickness
as poisonous arrows which struck men. It was known as Elf-
shot, Hexenschuss, Alveskudt, Alvablast, and Skott 2 . We can
compare this to Forspjallsljod 13:

Eins kemr austan

ur Elivagum

born af akri

|xirs hrimkalda,

hveim drepr drottir

Dainn aliar

maeran of Midgara

med natt hver.

1 Francesco Maria Guazzo,
1988, Compendium Malefi-
carum.

2 Rooth, 1961, Loki in Scandina-
vian Mythology.

It reads: "From the east out of Elivagar come rime-cold thurs arrows which kill
the humans and destroy the land of MicigardV', which is to say that it was believed
that the rime-thursian monsters, Gullveig s progeny, shot these fatal arrows of sickness
(skott) at people. I also see a link to Loki and the Mistilteinn-myth here.

This might feel a bit farfetched, but with her attributes this assumption is not that
strange.

dinavian languages I have
dieval times. More exampj
gulli which is considered to
god, and the same goes to
actual transition from gad
the name Gullveig c
whole new meaning iie

I personally consider
ate and truthful than
guesses and unexplored 1
Vigfussons dictionary of t
Norse word god was from
say that it had no gender,
in plural, as in the OK wo
denotation as god) the :
a plurality of gods but rati
saga Veluspd 6 gives us
regin oil a rokstola, gin\
holy gods". However,
form as in Vanagod for Fre
from Godveig, and
name meant "the battle
Norse two-folded go
any reason for the ON
say named after a battle
stanza 21:

In the Swedish lexicon Svensk Etymologisk Ordbokby Elof Hellquist (second edi-
tion 1939), under the word Gullmaren (Old Norse goSmarr, god-lake), it is ex-
plained that in the Scandinavian history of languages a transition was made from
the letter d to I, as in the assumed names Gullbrand; Old Swedish Gulbrander next
to Gudbrander, and dialect Gullmund as Gudmund. In my studies of the Old Scan-

The folkvtg-myiii
found in Voluspd and

i **£L

Kennings and Meanings

bari>. able to find a remedy,
s^ .-. and sure in killing, and
so known to be a wielder of
fre ^ and Lilith are strongly
Mger that the goddesses (and
25 kr. . m to spread a disease
\, the destructive seed of Gul-
obon. As in many other tra-
r of all monsters, and these
:knes$, and sent sickness
k men. It was known as Elf-
and Skott 2 . We can

jld thurs arrows which kill
1 is to say that it was believed
fetal arrows of sickness
tritfinn-myth here.

this assumption is not that

jy plof Hellquist (second edi-

r; narr p god-lake), it is ex-

i transition was made from

Did Swedish Gulbrander next

1 mv studies of the Old Scan-

dinavian languages I have found that the transition d to / took place during the me-
dieval times. More examples of this transition are traced in the Runic Swedish word
gulli which is considered to be an abbreviated form ofgudh- which in English means
god, and the same goes for the name Gudhlef-Gullelf. This proves that there was an
actual transition from god-/gud- (meaning god) to gulU/gul-, and that the gull- in
the name Gullveig could be the Old Norse word god-/gud-, and thereby giving a
whole new meaning to her name. 1

1 1 have confirmed this theory
with the Institute of language
and folklore in The Swedish
Academy, and they agreed with
its authenticity.

2 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary.

I personally consider this theory as much more appropri-
ate and truthful than the other ones, which to me seem like
guesses and unexplored hypotheses. According to Cleasby-
Vigfussons dictionary of the Old Icelandic language, the Old
Norse word god was from the beginning a neuter which is to
say that it had no gender, and it was almost exclusively used
in plural, as in the ON word regin, (with very much the same
denotation as god) the powers, which might not have meant
a plurality of gods but rather their power conjoined as in a "godhead". 2 The very old
saga Vetluspd 6 gives us a good example of how the word god was used: «pd gengu
regin oil a rokstdla, ginnheilog god» } "all powers went to their power-seats, the all-
holy gods". However, on rare occasions god was also used in singular and feminine
form as in Vanagod for Freyja. Thus as a hypothesis let's say Gullveig was a transition
from Godveig, and let s say that god- was a plural neuter, this would mean that the
name meant "the battle of the powers" powers as in the godly power, e.g. the Old
Norse two -folded godly power: the cesir (heaven) and the vanir (earth). So was there
any reason for the ON people to name Gullveig the battle of the powers or should I
say named after a battle of the powers 7 . 1 believe everything is explained in the Veluspd
stanza 21:

She remembered the folk-war

the first in the world,

when Gullveig

they with spears pierced,

and in the hall of 6dinn

burned her,

thrice burned

and thrice born,

oft, not seldom,

yet she still lives.

The/oMcvtg-myth (folk-war) and the account on Gullveig s executions are to be
found in Veluspd and in Saxo's Gesta Danorum (The History of the Danes) which

1^7

GullveigarbOk

complement each other. Thefolkvig-myth. is about the vanir, the lower god-power
who considered Gullveig as an ally; and when the dsir, the higher god-power, killed
Gullveig because of her illr witchcraft, when OcHnn himself used witchcraft at Rind s,
the vanir became furious and acted with war as the dsir refused to compensate what
they had unjustly done. This can be read in V0luspd 21-26. So this war between the
two-folded god-power, god, was because of Gullveig and her evil witchcraft, « vdlu
velspd, vitti hon ganda; seid hon kyni, seid hon leikin, ce var hon angan illrar brudar»
(Codex Regius).

It is evident to me that Gullveig is an epithet embodying thisfolkvig-myih which
her name suggests, and her name Gullveig is only mentioned once in the Scemundar
Edda all together and it is in the same stanza where it is explained about the war be-
tween the vanir and the dsir, Le. thefolkvig. As you will see below -veig derives from
the ancient Germanic waijd, power or strength, which is also connect to the ON
word vig, battle, as in folkvig. 1

1 Peterson, 2002, Nordiskt run-
namnslexikon.

1 How even this comparison
was accepted amazes me, no-
body would compare Lilith
with Eve. This only shows,
again, how ignorant people can
be and how easily they just ac-
cept any hypothesis presented.
To believe this comparison is to
defile the giantess' name itself.

3 Palm, 2004, Vikingarnas Sprdk.

In the age of the Old Norse, Scandinavians had pretty much
the same language. Equally, the literal transition from d to / that
I presented above was a pan-Nordic transition, not just a
Swedish one. For example, in a grave found at Herjolfsnes
(Herjolf 's Point) in Greenland a piece of wood was found with
Runic inscriptions: «Pessi kona var lagdfyrir bord i Groznalands
hafi, er Gudveig het», which reads in English "this woman, who
was named Guoveig, was laid overboard in the Greenland

ocean.

In Runic language we find that the noun gull/goll generally
meant gold, and I'm pretty sure that the classic An Icelandic-
English Dictionary (of Old Icelandic) by Cleasby and Vigfusson
already gave people during the 1800s the idea that Gullveig meant "the one who
loves gold; the one who drinks gold" or something similar; the gold-hypothesis was
also triggered by the modern erroneous comparison between Gullveig and her con-
tradictory goddess of light - Freyja 1 . Gull- in the meaning gold has also been used
in Nordic literature in kennings for a woman (gulls selja); "the one who wears gold
or valuables." 3

I don t get it, and I ha-
says that Gullveig lovec g
that Gullweig means ^cldn
and translates Gullveig to j
the name Aurinia and Gull
manisk Mythologi: he poinl
have a connection wit
dberg got diverted bv Ck
English Dictionary, as :
and "gold-thirst"; in La
overlooked (as well as
aurora in Latin means,
opinion, has a much biqj
abode in the eastern part
has the epithet "the gian
never come across any ^
to gold in the way people
after gold there must have
sentations yet. Gullve%
corresponded to the sun i
wealth as in gold and sh

- e.g. the black sphere of ti

- Jarnvior is located in the

She is thirsting everiast:
like hunger and greednm
the plague throughout th<
was a very treacherom sy
sagas tell us much of its a
upon as "evil" in many cul
the gold-thirst did to pec
imagine; it drove ( and
killing each other - and it
meaning "a drink"; gull-vc
a possibility of an epithet f

It is this that only convi
this name: she came as tl
women. A good testimon

1 io

Kennings and Meanings

i wanir. the lower god-power
the higher god-power, killed

_5< '. : _ -ed witchcraft at Rind s,
r :_ ed to compensate what
- >o this war between the

nd her evil witchcraft, «vdlu
hon angan illrar brudar»

lying thisfoikvig-myth which

: : - . i once in the Scemundar

i exrlained about the war be-

,.,-veig derives from

o connect to the ON

mdinavians had pretty much

teral transition from 3 to 1 that

tordic transition, not just a

found at Herjolfsnes

liece of wood was found with

.gdfyrir bord i Groznalands

a English "this woman, who

?verroard in the Greenland

t the noun gull/goll generally
that die classic An Icelandic-
lic) by Qeasby and Vigmsson
j _ Jweig meant "the one who
ular : the gold-hypothesis was
etvieen Gullveig and her con-
n g gold has also been used
ja), 'die one who wears gold

1 Wagner, 1917, Asgard and the
Gods.

2 Grimm, Teutonic Mythology.

3 Rydberg, 1 1886, II 1889, Un-
dersokningar I Germanisk
Mythologi.

I don't get it, and I have never found an authentic source in the original sagas that
says that Gullveig loved gold, something too many authors claim: Wagner claims
that Gullweig means gold-ore 1 , Grimm in his Teutonic Mythology talks about Aurinia
and translates Gullveig to gold-cup 2 , and Rydberg talks about the similarity between
the name Aurinia and Gullveig s bi-name AurboSa in his work Undersokningar I Ger-
manisk Mythologi: he points out that aurum is gold in Latin, which he thought could
have a connection with Gullveig s name 3 . 1 am convinced that both Grimm and Ry-
dberg got diverted by Cleasby and Vigfussons An Icelandic-
English Dictionary, as it says that Gullveig means "gold-drink"
and "gold-thirst"; in Latin auri fames. Something they both
overlooked (as well as Simek, amongst many others), was that
aurora in Latin means, amongst other things, east This, in my
opinion, has a much bigger relevance because of Gullveig s
abode in the eastern part of Jotunheimr; Jarnvidr. She even
has the epithet "the giantess of the eastern storms." I have
never come across any good reason for why Gullveig should have been connected
to gold in the way people have shown so far. If the Old Nordic people named her
after gold there must have been a good reason, and I just don t see it in the repre-
sentations yet. Gullveig is connected to the moon, not the sun - gold has always
corresponded to the sun in religions worldwide. She is not known for looking for
wealth as in gold and she is often called The Old One in the darkest woods of them all

- e.g. the black sphere of the moon, or the shadow side of the world; the black earth

- Jarnvidr is located in the underworld.

She is thirsting everlastingly for victory and she is covetous and greedy, that wolf-
like hunger and greediness could be allegorized as the gold-thirst that spread like
the plague throughout the world. In the "Viking" society too of course; gold there
was a very treacherous symbol and was offered to gods in sundry rituals, and the
sagas tell us much of its usage in blothus, skurdgod, etc. Gold has also been looked
upon as "evil" in many cultures, as well as the metal of "the sun-god". Indeed, what
the gold-thirst did to people we all know, and if you don't know you can surely
imagine; it drove (and still does) people insane, it drove people to fighting and
killing each other - and it created wars. So if I use the Old Norse word veig with the
meaning "a drink"; gull-veig could mean "gold drink" as in "gold thirst": it could be
a possibility of an epithet for the way Gullveig s essence allured peoples weak minds.

It is this that only convinces me why the Old Norse people would give Gullveig
this name: she came as the ice-cold maid and seduced and allured men as well as
women. A good testimony of this is allegorized in the Edda's Veluspd as it says:

139

Gullveigarb6k

She remembered the folk-war

the first in the world,

when Gullveig

they with spears pierced,

and in the hall of 6d«nn

burned her

And a few lines later it says about Gullveig-Heidr:

Always was she loved by wicked women.

This is where I can easily see the connection between the war-creating gold-
frenzy and Gullveig as the enchanting velvet - her essence is irresistible and it will
allure your wrathful unnatural self. Petersen noticed this in his rare and simple work 1 ,

in which he also points out that the golden age ended when the
three horrible giantesses came out from Jotunheimr (see
Veluspd) - if I'm right that those three giantesses are a
metaphor for Gullveig, the gold-thirst theory seems weak.

1 Petersen, 1869, Nordisk
Mytologi.

However, I have another theory that is close to the gold-drink and gold-cup one.
As I understand it, Grimm, Petersen and Rydberg amongst many others could have
been right, but it seems like none of them understood the meaning of their own
discovery. The name Gullveig might derive from such a metaphor, but with a much
deeper significance. My theory has its basis in the meaning of gull- as golden colored
water and in -veig as in cup or well. Giants have been connected with water through-
out the sagas; they represent the extreme and phenomenal sides of nature, as in the
stormy waves of the oceans, the huge uninhabited mountains, and the permanent
glaciers, and wintry storms and lands. Even big waterfalls and roaring rivers are be-
lieved to represent giants, and many names of giants derive from uncontrolled and
destructive waters such as those. Water is known to carry powers, and it has been
used in most traditions through time in magical workings. Water could be seen as
liquid power-flows. The earliest testimony of the creation of the cosmos in the ON
mythology for example starts when the primordial ice of the world of rime Nifl-
heimr melts because of the heat from the world of flames Muspellzheimr, and the
sludgy waters stream out of the gaping chasm as an enormous icy river which was
called Hvergelmir - the primordial well. Hvergelmir is the source of the ancient
hidden knowledge of Chaos that the giants possess, and which the gods did not
possess. This knowledge - gnosis - is a part of the giant-essence (pursaafl). And as
I've acknowledged earlier Hvergelmir is ending with a "shore" called Elivagar which
in its turn is divided into eleven rivers which are reaching out throughout the un-

derworld and are
the origin of all oceans
a whole, evidently all
nidjar - was an ice-gian
on salty icebergs. Ice here ii
is waiting to be released, h
olent flood is a very
woken by force by the disti
ing powers of Chaos - the
- the ice melts and flood -
the struggle by this nev
Thereby Chaos floods
demiurge in suco
the cosmos is apparent in t
and humankind. Another i
too complex for the limits
become deformed, unnaio
the ice- and water-metapl
sense, in comparison to 01
are in fact the wrathful po
By my understanding oft
wrathful giants (thins e
wild ocean, the alarming ■
rivers; this and all ot
water is a representation o
to carry the underworld!)
essence.

In this aspect I \a ant to
was the proto-giant and tf
first named and known
Bergelmir. Ymir is moi
be derived from Sanskrit
Germanic root iemo- "twi
sion is of course made on
thurses by his left hand an
it is his second name
explained to be his name
ancient knowledge).

140

Kennings and Meanings

the war-creating gold-
irresistible and it will
- > rare and simple work 1 ,
age ended when the
:: m Totunheimr (see
three giantesses are a

it tfreorv seems -wreak.

and gold-cup one.

up: many others could have

e meaning of their own

i m t : irhor, but with a much

: yfgull- as golden colored

In c : ted with water through-

cnal sides of nature, as in the

tmtains, and the permanent

J roaring rivers are be-

trom uncontrolled and

irr.- powers, and it has been

^ ^\ T ater could be seen as

on oi the cosmos in the ON

e of the world of rime Nifl-

nes Muspellzheimr, and the

ormous icy river which was

source of the ancient

mi fhich the gods did not

ssence (pursaafl). And as

shore" called filivagar which

ting out throughout the un-

derworld and are distributing its water all through the rest of the worlds - this is
the origin of all oceans and waters. This allegorization is the axis of the giant race as
a whole, evidently all giants came from this source; Yrnir, father of all thurses - Ymis-
nidjar - was an ice-giant, and Audhumla, the cow, produced the jotuns by licking
on salty icebergs. Ice here is a metaphor for sluggish water or dormant power which
is waiting to be released. For me, the ice which melts and sets its water free in a vi-
olent flood is a very good metaphor for the sleeping powers of Chaos which gets
woken by force by the disturbance of the creation of the cosmic powers. The sleep-
ing powers of Chaos - the dormant ice - then awake and become at once wrathful
- the ice melts and flood - the disturbances which awakes the Chaos-powers are
the struggle by this new imposter called the demiurge - the creator of the cosmos.
Thereby Chaos floods the cosmos with its wrathful powers to try to prevent the
demiurge in succeeding with the creation of the cosmos - this opposition towards
the cosmos is apparent in the ON Mythology in the giants' action towards the gods
and humankind. Another important issue is that the acosmic powers of Chaos are
too complex for the limited realm of the cosmos, so Chaos' manifestations always
become deformed, unnatural and lawless. With this Gnostic view upon the creation,
the ice- and water-metaphor and the deformed exterior of the giants make good
sense, in comparison to other mythologies. So the storming waves of Hvergelmir
are in fact the wrathful powers storming out of the Jaws of Chaos: Gap Ginnunga.
By my understanding of the nexus between the storming waves of water and the
wrathful giants (thurses) the giants' essence is mythological interlinked with the
wild ocean, the alarming and foaming waterfalls, and the violent and destructive
rivers; this and all other violent, harsh and destructive nature-forces. Indeed, as
water is a representation of sources of power, especially well-water which is known
to carry the underworldly powers, this element fits well as an aspect of the giant-

essence.

1 Simek, 2007, Dictionary of
Northern Mythology.

2 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary, and
Heggstad, Hodnebo, Simensen,
2008, Norron Ordbok.

In this aspect I want to bring up Aurgelmir-Ymir first as he
was the proto-giant and the foundation of its races (cettar), his
first named and known son and grandson Pnidgelmir and
Bergelmir. Yrnir is his most known name which is supposed to
be derived from Sanskrit Yama; Latin geminus; and the Indo-
Germanic root iemo- "twin, hermaphrodite" 1 , and this conclu-
sion is of course made out of his hermaphroditic fathering of the two mysterious
thurses by his left hand and the deformed thurs Pnidgelmir from his feet. However,
it is his second name Aurgelmir that is more of interest in this subject; this name is
explained to be his name amongst the rime-thurses (the ones with the deep and
ancient knowledge). Aur- derives from the ON word aurr, wet clay or loam 2 , even

141

GullveigarbOk

1 Palm, 2004, Vtkingarnas Sprdk.

2 "Leirbrimis limum".

3 Cleasby-Vigfusson, 1 874, An
Icelandic-English Dictionary,
Heggstad, Hodnebo, Simensen,
2008, Norrm Ordbok, and Hel-
lquist, 1939, Svensk Etymologisk
Ordbok.

4 Palm, 2004, Vtkingarnas Sprdk,
Heggstad, Hodnebo, Simensen,
2008, Normn Ordbok, and
Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary.

sand 1 . This refers to the slaughter of Aurgelmir-Ymir when e.g. his flesh was used to
make the earth (Ymishold) and his blood to make the oceans (fmisbldd). In
Fjolsvinnsmdl Aurgelmir gets the epithet Leirbrimir 2 -, leir-, mud 3 , and brim, surf or
the ocean by the poets 4 : "muddy waters" which is unmistakably an epithet he re-

cieved from the mythos where he got slaughtered and his flesh
became "mud or wet clay" as in the earths crust, and his blood
the oceans. Furthermore, -gelmir means roaring, and this "roar-
ing" is speculated to symbolize the roaring of waves; as in
stormy waters. So the name Aurgelmir becomes somewhat of
an epithet for maybe a stormy sea- shore, or a violent flood; "a
storming muddy flood", which makes me think of water that
comes rushing down as a flood from the mountains after a cruel
rainstorm or a melting snow-cap. This - plus the fact that he is
a rime-giant made of ice/water - gives the proto-giant Ymir-
Aurgelmir a role as the origin of the waters and oceans - pretty
much like how I allegorized the wrathful Chaos-power which
came storming out of Gap Ginnunga. Aurgelmir s first named
son is t>rucJgelmir which means the powerful roaring, which in
this context would mean a "powerful roaring flood" or "powerfully roaring waves."
f>rudgelmir is said to have numerous heads, which here would symbolize several
mouths of a river. This is a very fitting metaphor of Elivagar which is explained as
being an end or a shore of a fierce river with eleven mouths - this type of aggressive
power-flow is allegorized in other traditions as e.g. a black dragon with manifold
heads: as the Bringer of the Wrathful Current. So the still remaining essence of Au-
rgelmir could be represented by Hvergelmir - the vast power-well of "poisonous
water", and out from it Elivagar as a wrathful storming flood is deluging with black
icy waters - manifested as the multi-headed rime-giant I>rudgelmir. By this I'm not
saying that this is the actual fact, I'm merely exploring their icy, watery and stormy
nexus. Now, Erudgelmir s son is Bergelmir, and his name is supposedly derived from
the ON word berg, mountain. I'm not convinced, even though it s not an unlikely
epithet, but if you instead look at the ON word berja, to strike, beat, smite (at times
as a punishment), it seems more fitting. Berja is used in violent situations, and I be-
lieve ber- in Bergelmir is taken from the word berja in the present tense berr, strikes,
beats, smites. In this sense Bergelmir would mean the striking and roaring one. This
could easily be a metaphor for the violent mountain-rivers or waterfalls which beat
and crush everything in their way.

After I have made clear that the three first and most important thurses are some-
how connected to or symbolizing vehement waters or waves, we can now move on

to other giants; thurses
Mimir, guardian of the
worldly wells). First o
water of all ancient and
connection to water
benign jotun race (<£tt)
(Mimisbrunnr) is the oi
I have to disagree with
the same would this
worldly wells, according
North of the unden
world), and 3) HvergekJI
mean that Mimir, I
and the primordial

A very predictable nap|
still interesting, is the saga
tered ¥mir and used his hn
ocean. There was so much
giants, it was said, that wb<
rime-giants but the ie
Bergelmir rose from
race springing from the i
had in mind when he pre
water.

We have the mysterious
to be a water-giantess, cor,
seems to be a monster rr o
too bad. The prefix h rim- u
be that she belongs to the
and could be connected ti

After all that has be-
has her origins in the wai
spouse to the ocean-pan
witch bears ships ame r.gst
: : Gerdr, so is Gulh ei£. ai
rveis is allegorized as

142

Kennings and Meanings

ii t'Ji

e.g. his flesh was used to
oceans (fmisblod). In
T mad 3 , and brim, surf or
bly an epithet he re-
Jitered and his flesh
ths crust, and his blood
leans roaring, and this "roar-
tfae roaring of waves; as in
Amir becomes somewhat of
•Acre or a violent flood; "a

tme think of water that
mountains after a cruel
- plus the fact that he is
the proto-giant Ymir-
e waters and oceans - pretty
rathml Chaos-power which
ipa. Anrgelmir s first named

cvierful roaring, which in
'powerfully roaring waves."

viould symbolize several

; - which is explained as
:tr. - - this type of aggressive
bbck dragon with manifold
ill remaining essence of Au-

xmer-well of "poisonous
flood is deluging with black
: fcrudgelmir. By this I'm not
iheir icy, watery and stormy
c is mpposedly derived from
I fhough it's not an unlikely
> strike, beat, smite (at times
violent situations, and I be-
ie present tense berr, strikes,
nxing and roaring one. This
pers or waterfalls which beat

rr.r ortant thurses are some-

. we can now move on

to other giants; thurses and jotuns. Petersen 1 put emphasis on a p R , Q N , .,

Mimir, guardian of the well of wisdom (one of three under- MytobgL
worldly wells) . First off, Mimir is said to be the keeper of the 2^^^ to Snorri * s Gylfagin-
water of all ancient and hidden wisdom; this alone shows his ning.
connection to water and primordial power. Mimir is from the
benign jotun race (cett) from Audhumla 2 . Petersen also claims that Mimir s well
(Mimisbrunnr) is the origin of the oceans, the ocean being the origin of all life. Well,
I have to disagree with that; only if he means that Mimisbrunnr and Hvergelmir are
the same would this be true - but they are not the same. There are three under-
worldly wells, according to my investigations: l) Mimisbrunnr (located in the
North of the underworld), 2) UrcJarbrunnr (located in the South of the under-
world), and 3) Hvergelmir (located in the east beyond the underworld). This would
mean that Mimir, UnJr, and the ruler of Hvergelmir are all connected to the water
and the primordial current.

A very predictable happening coming from Snorri in his Gylfaginning 5-8, but
still interesting, is the saga when Odinn and his two brothers (Vili and Ve) slaugh-
tered Ymir and used his limbs and blood to create the world: his blood became the
ocean. There was so much blood in Ifmir s huge body, as he was huge even to the
giants, it was said, that when the blood gushed out of Ymir s wounds it drowned all
rime-giants but the rime-giant called Bergelmir. So according to Gylfaginning,
Bergelmir rose from the "ocean" and thereby became a symbol of the rime-giant s
race springing from the water. I feel confident enough to say that this is what Snorri
had in mind when he presented such a geographic allegory - All life spring from
water.

We have the mysterious HrimgercJr who is explained in Helgakvida Hjorvardssonar
to be a water-giantess, connected with Ran but not the same. HrimgercSr s mother
seems to be a monster from the depths, and the saga does not reveal her, which is
too bad. The prefix hrim- in her name is a suggestion of her heritage, and this would
be that she belongs to the icy realms in Niflheimr. Her name means Gerdr of rime
and could be connected to Gullveig s daughter GerSr and Gullveig s icy blood.

After all that has been said and proved, we have to see by now that Gullveig clearly
has her origins in the water; she's explained to be a giantess of ice, and she is the
spouse to the ocean-giant iEgir-Gymir, as she is called "Gymir s primevally cold
witch bears ships amongst storming waves in the jaws of iEgir." (Gymir is the parent
of Gerdr, so is Gullveig, and Mgir is explained to be the same as Gymir.) Here Gul-
lveig is allegorized as the eastern ocean-storms - her spouse is the ocean and she is

143

GULLVEIGARBOK

the storm which makes its waves untamed. Here we can find very interesting con-
nections, first ofLEgir s most known wife is Ran, and Ran is the ocean-giantess who
is the mother of iEgir s nine daughters; the oceans stormy waves. Now Gullveig is
also allegorized as the "mother" of the stormy waves in the line "Gymir s primevally
cold witch bears ships amongst storming waves in the jaws of ^gir", this gives Ran
and Gullveig the same character and attributes. Also, Ran is only mentioned as a
death-giantess; in the sagas she is idiomatically connected to the saying "falling into
the hands of Ran", as in drowning in the sea. This gives her the role as a death-gi-
antess in the depths of the oceans abyss where she rules over the dead. This can be
reflected in Gullveig s daughter Hel, the queen-ruler of the underworldly realm of
the dead. I must say that the connection between the alliance of storm, wave, and
ocean -Gullveig and Ran, Gullveig and Hel- is unique. The fact that Gymir s name
most likely derives from *$mir and that Gullveig might be the first rimethurs ifonir
created, makes indeed the connection between stormy ocean-Ymir-Gymir-Gullveig
as unique.

Another theory could be that it was believed that Gullveig s power was repre-
senting the golden water that you find in Scandinavian lakes and rivers - it was
known that all waters in the world came from the wells of wisdom (e.g. Mimis-
brunnr, Uroarbrunnr and Hvergelmir), and that the golden color could easily have
been looked upon as a water colored by its richness: richness as in primordial wis-
dom - biologically this is true as well. With this lore the waters in wells would be
even more sacred than of those of lakes and rivers. Naturally made wells were actu-
ally looked upon as filled with magical powers - pure waters which came up directly
from the underworld. Such wells are common in Scandinavian woods and are even
saved in a few villages to this day - in folklore they have always carried strong mag-
ical powers. They are called sacrificial wells or wishing wells, you sacrifice into it to
receive a gift in return. This all derives from the belief of spiritual powers of the un-
derworld or within the earth that would empower this holy water that poured up
from the mighy wells under the roots of Yggdrasill.

Scientifically, in many lakes and rivers in e.g. northern Europe the water has a
yellowish and brownish color which is a result of dissolved organic carbon (DOC).
This could be one argument for the gull- usage in the name of Gullveig.

With this said; I am convinced that authors through time have been too lazy to
even bother to research her name properly and just taken for granted that Gullveig
meant "the one who loves gold" - especially if you understand all meanings of the
ON word veig.

A sacrificial well from the V

Let s take a look a:
suffix -veig is very comma
has not been a riddle to und
but we know that it derives
waijo, power or strengtr
is that it origins from th
Norse noun vig; which
era Icelandic with the

A secondary -. : ; c Lr.eoi
Xorse word ve wh: cr. : -

We have the noun .
che Old Icelandic and OL
is used in Gullveig s name a

144

can find very interesting con-

_a is the ocean-giantess who

somv raves. Now Gullveig is

a the line "Gymir's primevally

iws of M%p" t this gives Ran

iv Ran is only mentioned as a

dec : g die saying "falling into

res her the role as a death-gi-

ies over die dead. This can be

ie underworldly realm of

e alliance of storm, wave, and

e. The fact that Gymir s name

h: r - tne first rimethurs Ymir

Tcean-Ymir-Gymir-Gullveig

Kennings and Meanings

-llveig s power was repre-
iian lakes and rivers - it was
ire&s of wisdom (e.g. Mimis-
::!:. - coloi could easily have
richr.c>> as in primordial wis-
ae waters in wells would be
i7_ : made wells were actu-
waters which came up directly
nL~ avian woods and are even
■rays carried strong mag-
ig wells, you sacrifice into it to
f of spiritual powers of the un-
his holv water that poured up

Europe the water has a
: . • i c organic carbon (DOC),
e of Gullveig.

igh time have been too lazy to
aken for granted that Gullveig
mdeistand all meanings of the

A sacrificial well from the Viking-age. Photography by the author.

Let's take a look at the suffix -veig in the name Gullveig. The
suffix -veig is very common in Norse women's names and it
has not been a riddle to understand its etymological meaning,
but we know that it derives from the ancient Germanic word
waijd, power or strength. 1 The primary theory amongst experts
is that it origins from the Old Norse suffix -vig of the Old
Norse noun vig; which means battle. 2 Wghas survived in mod-
ern Icelandic with the same meaning.

1 Peterson, 2002, Nordiskt run-
namnslexikon.

1 See Palm, 2004, Vtkingarnas
Sprak, and Peterson, 2002,
Nordiskt runnamnslexikon. Also
under vig in Dahlgren, 1914-16,
Glossarium ofver Foraldrade eller
Ovanliga Ord och Talesatt i Sven-
ska Spr&ket.

A secondary -veig theory is that it derives from the Old
Norse word ve which means "a sacred place" or "a sacrificial place."

We have the noun veig in modern Icelandic which means wine, which drives from
the Old Icelandic and Old Norse word vieg, which means "a drink" - this meaning
is used in Gullveig s name as the "gold drink." The modern Icelandic word veigur -

145

Gullveigarb6k

which drives from the same Old Icelandic word above veig with the secondary
meaning of pith, strength, and gist - is much more interesting, as it means power,
strength and solidity, which makes me interested and I defiantly see a connection.
I would say that is not a very bold guess to affirm that veig - veigur derives from the
Old Norse word vig.

SUMMARY

L The ON word gull in
the ON word god, god - a

To conclude this survey I would say that I think I have proven that the name Gul-
lveig actually means "the battle of the powers" or something similar, and derives
from thefolkvig-myth.

II. The ON word
vigt battle.

III. In conclusion and 1
the name Gullveig is base*
was allegorized as the trig
the "divimty/provoker

146

Kennings and Meanings

mg with the secondary
re interesting, as it means power,
and I defiantly see a connection.
that veig - veigur derives from the

proven that the name Gul-
mething similar, and derives

SUMMARY

I. The ON word gull in the name Gullveig is most likely a literal transition from
the ON word god, god - and not the ON word for gold.

II. The ON word veig in the name Gullveig most likely derives from the ON word
vig, battle.

III. In conclusion and by all evidence I have hereby presented, I consider that
the name Gullveig is based on the/o/fcvjg-myth found in Voluspd, in which Gullveig
was allegorized as the trigger of the war between the gods; and thereby was called
the "divinity /provoker of war"

147

GULLVEIGARBOK

AiUfv

% £ck&

01 ulf Loki vid Angrbodu...

Loki at hjarta lindi brenndu,

fann hann halfsvidinn hugstein konu;

var<5 Loftr kvidugr af konu illri;

J>acSan er a foldu flagci hvert komit.

-Veluspd in skamma

The abyss yawned immensely, as eleven black projections reached out of the ab-
solute darkness, uncontrolled and beyond measure the energetic limbs entangled
the emptiness of the nothingness. They were to be called poisonous serpents - bale
powers extruding from the abyss. All of these powers had an essence with a purpose
and they took form - elemental and deformed. Darkness spawned darkness, and
its light was black. One of the black serpents carried The Flare - The One who was
two - he was born in the image of his originator; and as inferno in essence, attributes
and manifestations he came, horrible and giant, out of the primordial world and of
the oldest of slumbering entities. Through the flames he was brought, and of the
flames he became - bringing the heart of the powers unknown to unleash Hel upon
whatever that would be called life. He unleashed the ever-hungry iron-night with a
blood-stained veil upon the unborn seed of the creation. He brought from the abyss
the omnipotent scepter: his ever-evolving axis, which would run through the com-
ing egg. He was perceived as the core of fire, something that only lightening could
become in the moment of strike, or the blinding horns of the sun, or the infernal
tongue of the raging volcano. The lightening is his arm reaching out of the under-
world as he grasps whatever his cunning plans have hunted down. He is wrath, seen
as wildfire driven by the eastern winds - devouring, burning and corroding eyes
and lungs; suffocating from all angles as a heavy black smoke. He is called Loki,
Keeper of Keys - The Dissolver - Gullveig's Companion.

As a thurs spawned out of the Muspell-fires, Loki is the perfect illustration of an
ally to Surtr. His essence in the sagas being like extreme heat; it pierces through
anything. Unstoppable, Loki runs through all cosmic entities with his heat as if the
world tree itself were aflame (with exit) and dissolves them from inside. The cosmic

illusions are like a temple
with sundry strategic strij
pairable.

The complex esse ace o(
and epithets he is known
which means something
essence he is a thurs giant

l) In Vehtspd in skan
Angrboda, and Sleipnir to
seemed the worst e
This stanza explains
he gave birth to the giant m
to Gylfaginning he transfix
the eight-legged horse Stei
of deformity and inborn si
on a horse). The witch wfc
giantess of Ninheimr r
Byleistr s brother whom 1
most likely a giant his :
that Byleistr s name :ise
air, are connected.

2) In Veluspa ■*'
trembles, the old tree
sdering the big drama the
mg of Loki and his :~
part is referring to him - 1
Iveig says in Baldrs D r uimu
and all Ragnarokian destn

3) In Veluspu 5 1 it
Mospell-folk shall come •
monsters come with the
brother." Here it explains
races, are coming h th
the east as Ragna Rek has '
and Byleistr are named ;

148

GULLVEIG AND LOKI

konu;

3ns reached out of the ab-
be energetic limbs entangled
Ir d : oisonous serpents - bale
iu ir. essence with a purpose
kmess pawned darkness, and
Ihe Fiare - The One who was
no in essence, attributes
if the primordial world and of
es he was brought, and of the
mknown to unleash Hel upon
ewer-hungry iron-night with a
ml He brought from the abyss
1 would run through the com-
ing that only lightening could
ms of the sun, or the infernal
on veaching out of the under-
anted down. He is wrath, seen
], burning and corroding eyes
smoke. He is called Loki,

die perfect illustration of an

reme heat; it pierces through

: entities with his heat as if the

them from inside. The cosmic

illusions are like a temple made out of glass for Loki, he sees right through it and
with sundry strategic strikes from his part it will fall into pieces and remain unre-
pairable.

The complex essence of Loki is extremely hard to divulge, amongst many names
and epithets he is known as inn lavisi Loki, "the cunning Loki" 1 , and GecJreynir,
which means something like "challenger of the mind or patience." In Loki s true
essence he is a thurs giant which various episodes in the ON sagas testify to:

1) In Voluspd in skamma 1 1 it says "Loki bore a wolf to
Angrboda, and Sleipnir to Svadilfari; amongst all a witch who
seemed the worst, she was begotten from Byleistr's brother."
This stanza explains many things about Loki s giant-descent,
he gave birth to the giant wolf Fenrir, 'the wolf, and according
to Gylfagi nning he transformed himself into a mare and bore
the eight-legged horse Sleipnir, and only giants have the traits
of deformity and inborn supernatural powers (as in eight legs
on a horse). The 'witch who seemed the worst' is the thurisan
giantess of Niflheimr Hel, she is said to be begotten from
Byleistr's brother whom we know is Loki, and as Byleistr is
most likely a giant, his brother, Loki, must be one too. Note
that Byleistr s name, "eastern storm", and Loki s epithet Loptr,
air, are connected.

2) In V0luspd 47 it is said that, "the tall Ash Yggdrasill
trembles, the old tree wails when the giant comes loose." Con-
sidering the big drama the sagas have presented of the captur-
ing of Loki and his imprisonment, I think it is safe to say this
part is referring to him - Loki the giant. To support this Gul-
Iveig says in Baldrs Draumar 14, "Loki will be free of his fetters
and all Ragnarokian destroyers will come."

1 In Grogaldr a mysterious
threatening witch is called hin
Icevisa kona, this epithet is a
feminine version of the Loki
one. The Old Icelandic word
Iteviss means often crafty or
cunning in an evil sense (skilful
in finding out how to bring
harm upon others, says Bugge),
as in the Old Icelandic word he,
bane, and the saying blanda lopt
lavi, "to poison the air", and
Loki is called both Loptr and
Lceviss which is very interesting
in this context. This saying can
be traced to Voluspd 25: «Pd
gengu regin oil d rokst6la,
ginnheilog god, ok um pat gat-
tusk, hverjir hefdi loft allt Itevi
blandit eda cett jotuns 6d$ mey
gefna», which refers to the
story, found in Gylfaginning,
when the cesir on Loki s advise
and guidance lets a giant build
Asgardr in trade for Freyja, Ods
mey, and the cesir understood
that Loki wanted the cesir to
lose the bet and Freyja, and
thereby Loki is the one who loft
allt Itevi blandit

3) In Veluspd 5 1 it says "the ship fares from the east, the
Muspell-folk shall come over the sea, and Loki steers; the
monsters come with the wolf, with them comes Byleistr's
brother." Here it explains how the thursian powers, mixed
races, are coming with the Naglfar-ship over the poisonous Elivagar waters from
the east as Ragna Rok has begun. An important detail is mentioned here: only Loki
and Byleistr are named amongst these ragnarokian thurses, (why Lokis other

149

Gullveigarb6k

1 Bugge theorizes: "Loki was thought of as the demon of fire... We
have, however, further evidence that Loki was regarded as the demon
of fire in several expressions in use among the Scandinavian peasantry.
In Iceland Loka spcenir was formerly used as 'shavings to light fires
with/ and Lokabrenna is a name of the dog-star. In Telemark, Norway,
the common people say, 'Lokje is striking his children,' when there is
loud crackling in burning trees. This conception of Loki as the demon
of fire is based on the words of St. Luke: 1 beheld Satan as lightning
falling from heaven,' and on the belief of Christian theologians, that
the body of the demon consists of fire and air. In the Cornish drama,
'The Creation of the World,' Lucifer says: 1 am the lanthorn of heaven,
certainly, like afire shining.' Loki is also called Loptr, i.e. 'air.'" - 1899,
The Home of the Eddie Poems with Especial Reference to the Helgi-Lays.

Cleasby-Vigfussons An Icelandic-English Dictionary from 1874 ex-
plains this about Loki s derivation from a fiery origin: "Loki, the name
of the terrible fire-demon, half god, half giant, the friend and com-
panion of the gods, and yet their most fearful foe. We have a new sug-
gestion to make as to the origin of this name. The old Northern Loki
and the old Italic Volcanus are, we believe, identical; as thus, - the old
Teutonic form of Loki, we suppose, was Wloka, whence, by dropping
the w before /, according to the rules of the Scandinavian tongue, Loki.
A complete analogy is presented in Lat. voltus, vultus, A.S. wlits, but
Icel. lit (in and -lit, a face); and, in point of the character of the two
demons, the resemblance is no less striking, as we have on the one
hand Vulcanus with Etna for his workshop (cp. the mod. volcano),
and on the other hand the Northern legends of the fettered fire-giant,
Loki, by whose struggles the earthquakes are caused. Of all the per-
sonages of the Northern heathen religion, the three, OcSinn, E>6rr, and
Loki, were by far the most prominent; but not even the name of Loki
is preserved in the records of any other Teutonic people. Can the
words of Caesar B.G. vi, x. xi, Solem ' Vulcanum' et Lunam. refer to
our Loki? Probably not, although in Caesar's time the form would
have been Wlokan in ace, a form which a Roman ear might well have
identified with their own Vulcanus. The old derivation from loka, to
shut, is inadmissible in the present state of philological science: a
Wddan from vada, or Loki from loka, is no better than a 'Juno a ju-
vando,' or a 'Neptunus a nando.' May not Loki (Wloka) be a relation
to the Sansk. vrika, Slav, vluku, Lith. vilkas, Icel. vargr, ulfr, meaning a
destroyer, a wolf? It is very significant that in the Norse mythology
Loki is the father of the world-destroying monsters, - the wolf Fenrir,
the World-serpent, and the ogress Hel; and, if the etymology sug-
gested be true, he was himself originally represented as a wolf."

And on Iceland Loki was connected to Volcanoes, like Surtr, which
connects them to both; as a result of this the smell of sulfur was called
on Iceland Lokadaun. And the Old Icelandic had Lokabrenna (the
blazing of Loki) as a synonym to fire.

"brother" Helblindi is not men-
tioned here has an obvious expla-
nation to me, which is that he is
not a thurs nor a giant, but the ass
Odmn), which only means that
the author wanted to emphasize
their involvement in the Ragna
Rok mythos; which in its turn
proves that they are both thursian
giants. Gylfaginning complements
this with the words "Loki and
Hrymr shall come there also, and
with him all the rime-giants. All
the champions of Hel follow
Loki." Neither, rime-giants nor
Muspell-sons would follow an dss,
which proves again that Loki is a
thurs.

4) Gylfaginning also explains
that "Loki shall have battle with
Heimdallr" and Loki kills him.
Loki evidently fought on the
thurses side and killed an ass-god;
this line itself proves his descent.

5) To conclude this list I be-
lieve we all can agree that in most
of the sagas that involve Loki he
unyieldingly tries to trick, mislead
and give the dsir away to the gi-
ants - which includes theft, lies,
abduction, and murder - which
could only be seen as an antago-
nistic, adverse, and evil trait.

Loki is also known as a fire
giant 1 : «Sd er nejhdurLoki eda Lof-
tur, sonur Fdrbauta jotun$» ) "His

name is Loki, also LoJtu
lveig s children: «vard ho
evil woman" - («padan a
which means that accord
sters and troll in the 0>
He is also considered
qualities, Gylfaginning

Among the ^sir is he i

falsehood, and blentsh

Farbauti the giant; K s ~ :

blindi. Loki is beauti

surpassed other men in 1

occasions; he wouic evt

out with crafty counse -

children had Loki. Angrbo

whom Loki begat three ^

-re

As his parents are
called the bale strikei 4 , an
has been commonly tran
being a metaphor for the
member that the giant* n
Eddas were written dov
erations of oral tradition,
the Eddas; some names d
Era. This is something I h
Laufey does not necessar
fitting and logical that F
a "tree isle" - the tree cro%
that creating Loki Howei
up the hero called Bi
this leaves me with the i
of the runes. If \auf or lint
Laufey on Loki s mother -.
he created the vindictra
Haevateinn - as it is

150

ber" Helblindi is not men-
1 here has an obvious expla-

3 me, which is that he is

dmrs nor a giant, but the ass

iiich only means that

;: -. : : '/anted to emphasize

ivement in the Ragna

--.:; - s which in its turn

iiat they are both thursian
k Gylfaginning complements
■ith the words "Loki and
w shall come there also, and
him all the rime-giants. All
:.-.: nons of Hel follow
Nether, rime-giants nor
«fi->ons would follow an ass,

roves again that Loki is a

Gylfaginning also explains

Xoki shall have battle with

ftdaH: and Loki kills him.

iently fought on the

ide and killed an ass-god;

elf proves his descent.

To conclude this list I be-
: can agree that in most
c sagas that involve Loki he
skhngly tries to trick, mislead
pre Ae ttsir away to the gi-
- which includes theft, lies,
ction, and murder - which
Jy be seen as an antago-
Jverse, and evil trait.

>ki is also known as a fire

«Sder nefndurLoki eda Lof-

rniur Fdrbauta jotuns», "His

GULLVEIG AND LOKI

name is Loki, also Loftur (Loptr), son of the giant Farbauti" and Loki bore Gul-
lveig s children: «varBLojir kvidugr afkonu illri» "Loftr (Loptr) got pregnant by an
evil woman" - («pacfan er dfolduflagd hvert komit», "from this all monsters derived",
which means that according to this Loki and Gullveig are the ancestors of all mon-
sters and troll in the ON mythology.) Loki is also called ulfsfodur, "the wolf s father".
He is also considered an ass-god, for a certain amount of time, with many conflicting
qualities, Gylfaginning says:

Among the >£sir is he whom some call the slanderer of the /Esir, the originator of
falsehood, and blemish of all gods and men: he is named Loki or Loptr, son of
Farbauti the giant; his mother was Laufey or Nal; his brothers are Byleistr and Hel-
blindi. Loki is beautiful and fair to look upon, evil in spirit, very false in habit. He
surpassed other men in that wisdom which is called cunning, and had crafts for all
occasions; he would ever bring the /Csir into great hardships, and then get them
out with crafty counsel. His wife was called Sigyn, their son Nari or Narfi. Yet more
children had Loki. Angrboda was the name of a certain giantess in Jotunheimr, with
whom Loki begat three children: one was Fenrir, the second Jormungandr, which is

the Serpent of Midgard, the third is Hel.

1 Farbauti whom I believe is the
same as Surtr.

As his parents are giants, why call him ass 7 . The father is
called the bale striker 1 , and his mother s name is Laufey which
has been commonly translated into a "leafy isle"; supposedly
being a metaphor for the crown of a tree. Here we have to re-
member that the giants' names and epithets were not made up at the time when the
Eddas were written down, the names are very old and have been saved through gen-
erations of oral tradition. The names are hundreds of years older than the dates of
the Eddas; some names might even be remnants from times before the Common
Era. This is something I have noticed that has been overlooked too often. For me,
Laufey does not necessarily have to mean a leafy isle, though I agree that it is very
fitting and logical that Farbauti is an allegorization for the lightening and Laufey is
a "tree isle" - the tree crown, and by Farbauti to strike it which sets it aflame and by
that creating Loki. However, I am still uncertain of this translation, so I like to bring
up the hero called Bjodvar Bjarki in Landndmabok who owns a sword called Laufi,
this leaves me with the gut-feeling that lauf- had another meaning back in the age
of the runes. If lauf or laufi once was an epithet or a synonym for a sword the name
Laufey on Loki s mother would make much sense as Loki is "the sword s father"; as
he created the vindictive sword called Gambanteinn - another name for Laevateinn-
Haevateinn - as it is said in Fjolsvinnsmdh

151

GullveigarbOk

Laevateinn hann heitir,

en hann gerdi Loptr ryninn

fyr nagrindr nedan?

i seigjarnkeri

liggr hann hja Sinmoru,

ok halda njardlasar niu.

evidently a way for the an
a hrimpurs; which remind
shall come there also, a:
prefix hrim- is used once i

Snorri s Nafnapulur actually confirms that laufi is a kenning for a sword; which
in turn confirms my finding. Concerning the stanza quoted above, it says that Loki
created the sword Laevateinn-Gambanteinn, and in Snorri s list of mythological ep-
ithets he mentions Ulfr, wolf, as one amongst many wolf-related epithets for a sword
(Najhapulur 43). Furthermore, Loki is called ulfsfedur, "the wolf s father", (Loki is
also called fadir m0rna, "the sword s father"), and this epithet has been taken for
granted to be a name after his wolf-child Fenrir, but as it also could intend the sword
Gambanteinn I think we should think again - considering his epithet fadir merna.
The same list mentions NicJhoggr (48) and Naglfari (47) as epithets for a mytho-
logical sword, this is very interesting and could give the Ragna Rok mythos a whole
new perspective. NicJhoggr, the one who strikes with scorn, is a very good epithet
for a sword, especially the sword Gambanteinn. Now, I do not exclude that
Nidhoggr is a Chaos-dragon dwelling in the depths of Hvergelmir, I am just specu-
lating on different aspects of the sagas. This rich list, Nafnapulur, also mentions
many names that mean fire or flame, which reminds me very much of the flaming
sword given to or made for Surtr: Gambanteinn.

1 The ON word hritnkdlki is
only used three times in the
Edda; two times in Lokasenna
and one time in Skirnismdl 37
where Gerdr, daughter of Aur-
boSa-Gullveig, offers Skirnir a
hrimkdlki with yearlong mead,
but he rides home instead of
taking it; compared to
Lokasenna 53 where Loki takes
the hrimkdlki and drinks of it:
in both cases the "rime-chalice"
belongs to the (rime-) giants.

Something very strange is that Loki is also connected to the
rime-thurses in a paradoxal way, which we can trace in these lines
from Lokasenna:

t>a gekk Sif tram ok byrladi Loka f hrimkalki mj66 ok maelti:

Heill ver \)(i nu, Loki,

ok tak vid hrimkalki

fullum forns mjadar...
***

Then Sif walked up to Loki and poured mead in a rime-chalice,

and she spoke:

Hail to you, Loki,

take this rime-chalice

full of yearlong mead...

Hrim- is only connected with rime-thurses in the ON mythology, and Loki is the
only one in Lokasenna who gets served mead in hrimkdlki, a rime-chalice 1 . This is

For Brate and man
this stanza says that Loki n
cold bowels," but it sa
is Snorri in his later Edda
Here it just says that Loki i
they could be his own or a
thursian strength. It is alsc
says that Loki will be put i
on a sword: hjorr 2 , sword.
ically an allegory for sharp
leading. In Lokasenna i:
sword, and in Gylfagjnrm
eggsteinar (prjd eggstdna):

But in Nafnapidur r Sm
(49). This shows that
Loki even more with tfc

Loki is the son of the I
whom I believe is the san
mean that Loki is Surtr >
the creations heart with
Surtr s sword of vengeattc
see the connection more <
he is always involved in th
sword out of the flames a
father, and it is analc
weapon he killed Baldr w

152

GULLVEIG AND LOKI

: for a sword; which

above, it says that Loki

*s list of mythological ep-

f-related epithets for a sword

\ 'the wolTs father", (Loki is

s epithet has been taken for

could intend the sword

rao^ his epithet/a#ir merna.

-" as epithets for a mytho-

? Ragna Rok mythos a whole

scorn . is a very good epithet

I do not exclude that

Hvergeimir, I am just specu-

afnafndur, also mentions

much of the naming

:s also connected to the
ich we can trace in these lines

kalki mj66 ok maelti:

^Dki,

r..

jred mead in a rime-chalice,

Loki

a ce
— ead-

N Mythology and Loki is the
a rime-chalice 1 . This is

evidently a way for the author to connect him with the rime-thurses, hrimkdlki for
a hrimpurs; which reminds me of Gylfaginning where it is said: "Loki and Hrymr
shall come there also, and with him all the rime-giants." Indeed, the rime-thursian
prefix hrim- is used once more in Lokasenna 49:

Lett er f>er, Loki;

mun-at-tu lengi sva

leika lausum hala,

jdvi at [3ik a hjorvi

skuiu ins hrimkalda magar

gornum binda god.

For Brate and many others it is just taken for granted that
this stanza says that Loki will be bound by "his own sons rime-
cold bowels," but it says nothing about his son in this stanza, it
is Snorri in his later Edda who says that it is his son's bowels 1 .
Here it just says that Loki will be bound with hrimkalda bowels,
they could be his own or a metaphor for magical chains of rime-
thursian strength. It is also commonly assumed that the stanza
says that Loki will be put on sharp rocks, when it actually says
on a sword: hjorr 2 , sword. For me, Hjorr here being hypothet-
ically an allegory for sharp rocks is actually misplaced and mis-
leading. In Lokasenna it is said that Loki shall lie on a hjorr, a
sword, and in Gylfaginning it is said that he shall lie on three
eggsteinar (prjd eggsteina): eggsteinn, an edge or a sharp stone 3 .

1 «BrugSu cesir Vdla ivargs IQd og
reifhann i sundur Narfa, brddur
sinn. Pa toku cesir parma hans og
bundu Loka med... »

1 Cleasby-Vigfiisson, 1874, An
Icelandic-English Dictionary.
Zoega, 1910, A Concise Diction-
ary of Old Icelandic. Egilsson,
1931, Lexicon Poeticum, and
Heggstad, Hodnebo, Simensen,
2008, Norr0n Ordhok.

3 Cleasby-Vigfiisson, 1874, An
Icelandic-English Dictionary.

4 Fjelsvinnsmdl.

But in Nafnapulur, Snorra Edda, under epithets for swords we find Eggsteinar
(49). This shows that eggsteinar are no rocks, they are three swords. This connects
Loki even more with the sword-mythos.

Loki is the son of the hurricane- and thunder-giant Farbauti, "the bale striker";
whom I believe is the same as Surtr, supreme ruler of Muspellzheimr. This could
mean that Loki is Surtr s burning sword that he plans to thrust the demiurge and
the creations heart with. Indeed, as Loki is said to be the creator of Gambanteinn 4 ,
Surtr s sword of vengeance, pieces start to fall in place, at least for me, and I start to
see the connection more clearly. Gambanteinn is mostly likely an aspect of Loki as
he is always involved in the myths and developments of this sword. Loki made this
sword out of the flames of Muspell and with the incinerating thursian runes of his
father, and it is analogous with Mistilteinn and lays as ground for the fjolkyngi-
weapon he killed Baldr with.

153

GULLVEIGARBOK

■■

I will not go further into the Gambanteinn-myth here as it is too much of a big
work and it does not belong in this book of Gullveig, but I will investigate this ex-
tremely important Gambanteinn-myth elsewhere.

Now, back to Gullveig and Loki s relation, the most classic evidence for their al-
liance is found in some lines from Voluspd in skamma 1 1, 12:

Loki begat the wolf
with Angrboda

• • •

Loki ate a heart

burnt upon the embers,

he found the half-singed

heart of a woman.

Loptr was expectant with child

of that wicked woman;

and from this
all monsters derived.

The wolf is Fenrir, and Angrbocia is, as you know by now, Gullveig; Loptr is an-
other name for Loki which means "the one aloft" and the wicked woman is Gullveig.
Then we have the classic part from Gylfaginning 34:

Yet more children had Loki. Angrboda was the name of a certain giantess in Jotun-
heimr, with whom Loki gat three children: one was Fenrir, the second Jormungandr,

which is the Serpent of Midgard, the third is Hel.

These two examples are the foundation of Gullveig and Loki s relationship and
then many sagas with themselves individually elaborate their companionship and
unconquerable purposes. Like Niflheimr and Muspellzheimr they came out of noth-
ingness, one was created from rime and one from flames, Gullveig and Loki came
as a two -fold fiend to counteract and antagonize the creation and its demiurge. Both
came storming out of Utgardr, Logi and Ursvol, to dissolve from all ends - fire and
ice striking from each side. Two heroes who sacrifice themselves fearlessly - warriors
and rulers: liberators and avengers.

In addition, I want to add another strong piece of evidence of their relations,
Loki s epithet/armr arma galdrs hapts in Porsdrdpa; farmr artna, "the arm-burden",
which means spouse, and galdrs hapt, "the deity of sorcery ".farmr arma galdrs hapts
for me refers to Gullveig as she is known in the ON mythology as the sorcerous
spouse to Loki.

The ON sagas tell us h.
structive - Gullveig and Lc
as alien and unknown poi
got recognized as gods: Lo
the race of the vanir, as f;
were able to transform eve
ognize them as invaders
they must have been ? upe
like Gullveig, Loki \
forming both in manifesto
others character, and usee
misled and tricked everyb
comes to Loki s sly plan
that the most maleficer
Wits, viciousness and bolt
something he shares with i
evil and vexation, mocker
to the humans in MiOv : 3
like troublemaker on th
of the dsir without them se
OcSinn, the so-called "all st
mysterious blood-brodlet
and Hel, Loki and Guflvejj
very essence of all the
cosmic Chaos - seen fro

However, even if the
not once told that they
and giantess in the un<
it haunts my mind. I
are representations of the '
they cannot submit to jji
representations of the tt
heimr and Muspel

Another mystery
names but no further
ithets. Epithet is expL
phrase firmly asso<

154

t is too much of a big
rat I will investigate this ex-

: evidence for their al-

r now. Gullveig; Loptr is an-
e wicked woman is Gullveig.

retain giantess in Jotun-
n, the second Jormungandr,
lira is Hel.

Loki s relationship and
eir companionship and
heimrmey came out of noth-
nes, Gullveig and Loki came
alien and its demiurge. Both
;olve from all ends - fire and
em -elves fearlessly - warriors

: evidence of their relations,
rmr arm a, "the arm-burden",
ery '.Jarmr arma galdrs hapts
[[Ethology as the sorcerous

Gullveig and Loki

The ON sagas tell us how this two-fold concurrent power - dynamic and de-
structive - Gullveig and Loki came out of Chaos, took form, penetrated the cosmos
as alien and unknown powers, and infiltrated the worlds undetected and actually
got recognized as gods; Loki got called ass and Gullveig was assumed to come from
the race of the vanir, as far as the surviving myth-fragments go. If two thursian giants
were able to transform even in essence so that the wisest of the gods could not rec-
ognize them as invaders from the antagonistic races of hrimpursar and muspells synir,
they must have been superior to all the powers within the cosmic worlds. Indeed,
like Gullveig, Loki was a unique shape-shifter; they both knew the rare art of trans-
forming both in manifestation and essence. They were also very sharp observers of
others character, and used it quick-wittedly to others' disadvantage. In that, Loki
misled and tricked everybody and made a fool out of them. Furthermore, when it
comes to Loki s sly plans, he was always long ahead, and he always formed them so
that the most maleficent plans seemed to be the most beneficent and favourable.
Wits, viciousness and bottomless spitefulness are coalesced in the essence of Loki,
something he shares with Gullveig - also the demonized thursian aspect that brings
evil and vexation, mockery and frustration amongst the gods and goddesses, and
to the humans in Miogardr as well. Even if Loki mostly is looked upon as a jester-
like troublemaker on the surface he plants devastating seeds in the ignorant souls
of the &$ir without them seeing it, and thereby reveals his superior intelligence. Even
OSinn, the so-called "all seeing one", gets profoundly deceived from day one by his
mysterious blood-brother Loki. As the father and mother of Jormungandr, Fenrir,
and Hel, Loki and Gullveig represent the true embodiment of all that underlies the
very essence of all the Ragna Rok forces: the emanations and current of an anti-
cosmic Chaos - seen from a Chaos-Gnostic perspective of course.

However, even if the sagas clearly illustrate them both as a couple and allies, it is
not once told that they ever lived together. This is a mystery that follows every giant
and giantess in the underworld in the sagas. For me, it is an unsolved mystery, and
it haunts my mind. I believe the only reasonable motive for this is that the giants
are representations of the wild, forceful, adverse, and alienated powers; and thereby
they cannot submit to causality. I believe Gullveig and Loki could be the absolute
representations of the feminine and masculine acausal power ascending from Nifl-
heimr and Muspellzheimr.

Another mystery amongst the giants is their siblings, most often there are only
names but no further details. However, a good thing is that the names are often ep-
ithets. Epithet is explained by an English dictionary as "a characterizing word or
phrase firmly associated with a person or thing and often used in place of an actual

155

GULLVEIGARBOK

name." The ON epithets often explained characters* actions in the old sagas, which
in turn helps you with identifying the characters. E.g. Loki is called Litr, salmon, as
he twice (that we know of) transformed himself into a salmon in the sagas, and
Gullveig is called Hyrrokin, flame-smoked, as she got burned thrice by the dsir.
Now, Loki has two brothers, one is called Helblindi, and ON blindr normally means
blind, but could on rare occasions mean dark or hidden, and I think his name has
just that denotation; the exact meaning of Helblindi is very hard to figure out but
"the one blinded from Hel or the one who shuns death" are, for me, two possible
translations. Helblindi is never mentioned in the Scemundar Edda, but in Gylfagin-
ning is he mentioned both as Lokis brother and as an epithet for OcJinn (20). This
makes me think of Loki and Odinns mysterious blood-brotherhood, bl66i, Helblindi
is only mentioned once in Gylfaginning as Loki s brother, but it does not say if they

share parents, it is not said there, which have been commonly
taken for granted, that Farbauti is specifically Helblindi s father,
Helblindi is only mentioned as being Lokis brother 1 . The saga
called Serlapdttr makes it even clearer as it says that Farbauti just
got one son in its second chapter: «Pau dttu sir einn son barna.
Sd varLoki nefndr», "They had one son, and he was named Loki".

En eftir

1 «Sd er nefndr Loki eb*a Lofir,
sonr Fdrbauta jotuns. Mddir hans
heiUr Laufey eda Ndl Brcedr hans
eru peir Byleistr ok Helblindi» .

With this I strongly suspect that Helblindi is exclusively an epithet for Odinn.
Indeed, as OSinn just has one eye and cannot see as far as to Nifl-Hel (Niflheimr)
the name makes sense to me. Loki s other brother is called Byleistr, his name is put
together from the ON words bylr, a whirlwind or a violent gust of wind, and eistr,
the one coming from the east, eistr being an epithet for a giant. Byleistr, "the whirl-
wind or the storming one coming from the east" kind of reminds me of a certain
gygr who is called "the giantess of the eastern storms."

Furthermore, both Loki and Gullveig-Aurbocia were adopted by OcJinn into As-
garcJr in the ON sagas, a very odd thing for him to do as Allvisi. This can only mean
that Gullveig and Loki tricked OcJinn and the rest of the dsir into believing that they
were one of them. Gullveig and Loki are the only antagonistic giants who have been
adopted into the realm which otherwise is strictly forbidden for any rime-thurses
and muspell-thurses to enter.

But long after Loki had fooled the gods and brought his evil cunning upon them,
his final act was to kill Baldr, (see my chapter on the killing of Baldr for a detailed
survey of Gullveig and Lokis conspiracy), they finally understood his true self, and
Loki withdrew from their realm Asgardr. It is said that the gods eventually found
Loki hiding out in a river:

156

So when Loki was
formed into a salmon
on Loki s transfoi
was chosen to allegoi
fish and it has extraon
well. The most known
formation, the salmon
migrants to the ocean
returns to the fresm ;r i
die. The salmons life span
sagas: he is master or
tion; and Loki started r
will - and travelled to }
this context I compare
water: salt being here a me
world "free" from thursian
because his Muspefl-afae i
anything to perceive. Subs
- to finish his ragnarokiai
several major transforms^
at hand, this is exactly whi

Now, a natural thin,
the dsir for the murder of
withdraw to his home lane
or even to Muspellzheaf
and as neither of the
in what direction he wen
points) or where this rive
my best guess is of course^
he hide in a river as a sab
fectly safe. There must har
with this strange allegor
name/ epithet of the
jrdnn, which means glean:
ithet for serpents, s rd
angr, woe, as in Angrboda

GULLVEIG AND LOKI

lions in the old sagas, which
-ok: is called Litr, salmon, as
► a salmon in the sagas, and
turned thrice by the tzsir.
i OX bUndr normally means
ed, and I think his name has
v hard to figure out but
th* are, for me, two possible
wmdar Edda, but in Gylfagin-
for6dinn(20).This
blodi, Helblindi
er. but it does not say if they
>r_ - nave been commonly
: i . . i.'.v Helblindi s father,
- z ~ - s brother 1 . The saga
a i- _: says that Farbauti just
xPau s-usereinn son barna.
i he was named Loki".

«t

!-• irtitrt

an epithet for OcJinn.
r as to Nifl-Hel (Niflheimr)
Cti 3; leistr, his name is put
: = - : gust of wind, and eistr,
r a giant Byleistr, "the whirl-
lofiemindsmeofacertain

b adopted by OcJinn into As-

-JlvisL This can only mean

sir into believing that they

tic giants who have been

bidden for any rime-thurses

: his evil cunning upon them,
vLir.c of Baldr for a detailed

understood his true self, and
it the gods eventually found

En eftir fDetta falst Loki f Franangrsforsi i lax liki.

So when Loki was revealed as Baldr s murderer he left Asgaror and hid trans-
formed into a salmon in a river called Franangrsfoss. First off, I want to put emphasis
on Loki s transformation into a salmon. For me it was no accident that a salmon
was chosen to allegorize Loki in the myths, because the salmon is a very strange
fish and it has extraordinary qualities that fit Loki s essence in the mythology very
well. The most known curiosity with the salmon, and trout, is its remarkable trans-
formation, the salmon is something called anadromous; born in freshwater then
migrants to the ocean and lives the bigger part of its life in saltwater, and finally it
returns to the freshwater where it was born, the same location, to reproduce and
die. The salmons life span witness, strangely enough, of Loki s odd existence in the
sagas: he is master of disguises, as well in transformation, regardless in what situa-
tion; and Loki started his journey in the underworld - or in Muspellzheimr if you
will - and travelled to Midgaror and to Asgardr to live the most part of his life. In
this context I compare MicJgardr and Asgardr - the upper worlds - to the salty ocean
water: salt being here a metaphor for "the repellence of evil" or the "dayside" of the
world "free" from thursian influences, and Loki had no problem in adjusting to this,
because his Muspell-core is eternally glowing and forever concealed for anyone or
anything to perceive. Subsequendy Loki returns to the "nightside" - the underworld
- to finish his ragnarokian journey. Analogous to the salmon, Loki goes through
several major transformations throughout his journey, to best adjust to the situation
at hand, this is exactly what makes him a superior thurs which no god can defeat.

1 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary,
Zoega, 1910, A Concise Diction-
ary of Old Icelandic, and Palm,
2004, Vikingarnas Sprdk.

Now, a natural thing for Loki to do when he is hunted by
the dsir for the murder of one of their most beloved gods is to
withdraw to his home lands; to Jotunheimr in the underworld,
or even to Muspellzheimr. The last location is not reasonable,
and as neither of the sagas Lokasenna or Gylfaginning explain
in what direction he went (normally the sagas add cardinal
points) or where this river was located, we have to guess where he withdrew, and
my best guess is of course Jotunheimr in the underworld. And why of all places does
he hide in a river as a salmon? If he went back to Muspellzheimr he would be per-
fectly safe. There must have been something else the story-teller wanted to manifest
with this strange allegorization - and I think the answer lies in the choice of
name/epithet of the river Franangrsfoss. Fran- can only come from one ON word:
frdnn, which means gleaming and flashing, which was only used in poetry as an ep-
ithet for serpents, swords and sharp weapons 1 , -angr- is unmistakably the same
angr, woe, as in Angrboda. -joss simply means river. So frdnangr would mean some-

157

GULLVEIGARBOK

thing like the shining woe, which by me is an undeniable epithet for Gullveig: she is
called Heidr, the shining one, and Angrboda, the messenger of woe. Equally, the
fact that I have already established that Gullveig is originated from water and ice
connects her with rivers too of course. Furthermore, the ingenious choice of the
word^rann which is a metaphor for a gleaming river - rivers which look most often
like giant serpents - and the word frdnn's connection with swords in poetry in this
context must have been thought of as the underworldly rivers which spring from
Hvergelmir, rivers with poison, eitr, which is allegorized in the ON sagas as rivers
with swords and sharp weapons on their beds.

In Jotunheimr lays the abode of Angrboda and Hvergelmir s rivers most likely
ran through or into her abode, which is of course Jarnvidr. So for me, Loki withdrew
after the murder of Baldr to his counterpart and companion s tracts in Jarnvidr in
Jotunheimr. And at Ragna Rok Loki comes with the ship called Naglfar, the ship
holds Fenrir, his monster kin and Heljarsinnar. Gylfaginning says:

Thither shall come Fenrir also and Jormungandr? then Loki and Hrymr shall come
there also, and with him all the rime-giants. All the champions of Hel follow Loki.

And Veluspd says:

Hrymr steers from the east,

the waters rise,

Jormungandr is coiling

in jotun-rage.

The serpent beats the water,

and the eagle screams:

the beak tears corpses;

Naglfar is loosed.

That ship fares from the east:

come will Muspell's

people over the sea,

and Loki steers.

The monster's kin goes

all with the wolf;

with them the brother is

of Byleist on their course.

gether with Angrboda.
gone by water from j
derworld are the eleve
This can t mean an]
here my point actualh
hides in as a salmon,
abode.

Comparing this mj
pears in both as a po
Hyrrokin being a poweri
salmon swimming in the 1
and "reveals" Lokis

LOKI AS A LUC

Loki could be an epithet
"the locker" 1 , and thereby
one who brings the anti-o
sian Gates: Loki Thurs of
the day of wrath; Ragna
Rooth tells us in hex bo<
other popular concept: o
Lucifer's race? 2

This shows that Loki does dwell in the east in Jotunheimr close to Ragna Rok,
and that Fenrir and all his kin follow him. Fenrir and his kin dwell in Jarnvidr to-

As I've compared Gull
Luciferian essence. Lot
qualities linked dire,
angle which relates to tin
of light. The light rep
cosmos have secluded fro
edge, called gnosis ne 1
ening - which leads to ev
usually refers to the ..c~
against the creation oi cot
to it However, the one
have opened their third
upon the Luciferian Ugh

158

et for Gullveig: she is

r of woe. Equally, the

ted from water and ice

ingenious choice of the

which look most often

rb swords in poetry in this
rivers which spring from
in the ON sagas as rivers

ergelmir s rivers most likely
: tor me, Loki withdrew
: r. s tracts in Jarnvidr in

>-7 called Naglfar, the ship
csavs:

d Hrymr shall come
: s of Hel follow Loki.

Gullveig and Loki

gether with Angrboda, she is the mother to Fenrir s offspring. Naglfar must have
gone by water from Jotunheimr (Jarnvidr) and the only known waters in the un-
derworld are the eleven poisonous rivers from Hvergelmir and its shore Elivagar.
This can't mean anything else then that Loki abides in Jarnvidr for some time. It is
here my point actually lies, I dare to go as far as to think the river Franangr that Loki
hides in as a salmon, Litr, is in fact a metaphor for (a river in) Gullveig-Angrboda's
abode.

Comparing this myth with Baldr s funeral I see many similarities: Gullveig ap-
pears in both as a powerful feminine force: a river that conceals Loki and as
Hyrrokin being a powerful eastern storm. Loki also appears in both sagas as a
salmon swimming in the water, and in both sagas l?6rr discovers him, catches him
and "reveals" Loki s true "form".

LOKI AS A LUCIFERIAN ESSENCE

Loki could be an epithet built on the meaning "to lock" or
"the locker" 1 , and thereby Loki could be looked upon as the
one who brings the anti-cosmic light and locks up the Thur-
sian Gates: Loki Thurs of Destruction, the one who triggers
the day of wrath; Ragna Rok and the end of the world.
Rooth tells us in her book on Loki that "according to an-
other popular conception, the supernatural beings are of
Lucifer's race'." 2

1 A hypothesis that has been
harshly criticized by many.

2 Rooth, 1961, Loki in Scandina-
vian Mythology.

nheimr close to Ragna Rok,
his kin dwell in Jarnvidr to-

As I've compared Gullveig to Lilith, I would like to, in short, represent Loki as a
Luciferian essence. Loki viewed from an anti-cosmic perspective grants him many
qualities linked directly to the god Lucifer - bringer of light. This is of course an
angle which relates to the anti- cosmic Chaos-theory. Loki is therefore the bringer
of light. The light is a representation of the forbidden knowledge, which the gods of
cosmos have secluded from the humans to avoid conflict and resistance. This knowl-
edge, called gnosis, is the wisdom of and from Chaos; the understanding and the awak-
ening - which leads to evolution and strength. To make this all less confusing, one
usually refers to the light of Lucifer as the Black Light, because Chaos is wrathful
against the creation of cosmos, all its stagnating forms, weakness and all life enslaved
to it. However, the one who sees through the cosmic light; false light, those who
have opened their third eye and received the black light of Lucifer, only they look
upon the Luciferian light as the bright and true one. For them, and only them, the

159

Gullveigarb6k

light of Lucifer, the light/fires of Chaos, are true. Such an awakened individual sees
the cosmic light as filthy, deceiving, weak and enslaving.

Mythologies and traditions mention that Lucifer had sacrificed a great amount
to come out of Chaos with Chaos-essence and -gnosis, into this world of cosmos
in order to enlighten the few chosen ones. So to a Chaos- Gnostic, Lucifer is re-
garded as heroic, and all those who have truly received the light of Lucifer; the gno-
sis of one s black flame, are very grateful, living beyond question as warriors,
worshippers and upholders of the supreme gods of Chaos. For those of weakness
and adversary towards Chaos, the fires of Lucifer are annihilating and exterminating.
His flames incinerate all to nothingness and show no mercy. For only the awakened,
the allied and strong are to be kept. Everything else belongs to the demiurge of the
cosmos - the enslaving force; and is therefore an enemy.

All qualities of Lucifer are visible in Loki, and undeniably so. Otherwise, without
these attributes, the character of godly form some call Loki, is another form entirely.
These people misunderstand Loki s nature and essence. Loki is a symbol and aspect
of the incensed Chaos-fire 1 , an aspect that reaches out from Chaos into the cosmos
and distributes Chaos-gnosis to those receptive. Loki, like Lucifer, burns with the
black fires of Chaos all illusive forms, and through that brings all that is beyond (e.g.
the Chaos-essence) into light. If one studies the Norse sagas, one quickly notices
that Loki, early in the dawn of gods, insinuated into the cosmic gods' world, know-
ing that he was to be murdered on the spot because of his thurs-blood. Yet, Loki
still doubtlessly undertook the risks and managed to infiltrate, which leads to the
fall of the World. This allegory of the very primitive Chaos-essence concerning Loki
can be interpreted and understood in many sagas in the ancient Scandinavian
mythology, where he "kills", "deceives" and "misleads" manifold of the cosmic gods
and purposes, just to guide the thurs-race into the World. Loki is the supreme leader
of all that is dark 2 , with a bright torch in his left hand; which he reaches above his
head as he always travels anterior in the front-line. This is the fundamental and prime

essence of Loki in the sagas, in which the giant-race alluded to
the Chaos-essence, and the cosmic World and its gods to the
illusive forms in cosmos.

1 In the ancient times it was
called Muspilli - as from the
fires of Muspellzheimr.

1 All that belongs to the anti-
cosmic Chaos.

Clearly, Loki is the messenger, liberator, defender and leader -
he bears the same heroic role as Lucifer.

HeiULoki!
Heill LokaJ>rekr!

Importantly, one can
Lucifer to Loki, or the
humanity to chronicle
significance of the deiUc
source

know the difference be
ings mention Lucifer a
to speak, resides other

Let us take the god
but Luciferian. This be.
Lucifer/ Satan already
becomes a lower aspect c

equalling The Heralds o

Lucifer is not in himself fd
those who are receptt -: ^kJ

GULLVEIG AND LOK

It is pretty obvious that bot
something that must have
adaptation, as this is not a
thursian giants, Aurgekx
to have just been p
amongst these are X. ^r.^i
Asgardr Myth 2 by Snorri (i
stallion Svadilfari aw
to the eight-legged giant
scent. Veluspd in s»: .;
gat vid Sva<Jilfara», Tola h
and Lokasenna 33 t<

inn ofkominn ok he'.
has come here, who ha i
transformed into a mare. 1
ON Loki trait, but I feel th
formity and androgynv

160

awakened individual sees

sacrificed a great amount
„ into this world of cosmos
-Gnostic, Lucifer is re-

: :.-. = light of Lucifer; the gno-
eyond question as warriors,
Zt.i > For those of weakness
nnihilating and exterminating.
re: r For only the awakened,
»±. oto the demiurge of the
: : rr.v-

rv sa Otherwise, without

another form entirely.

x. Loki is a symbol and aspect

Chaos into the cosmos

Lucifer, burns with the

all that is beyond (e.g.

> one quickly notices

?sniic gods' world, know-

f his thurs-blood. Yet, Loki

iltrate, which leads to the

~-i : -essence concerning Loki

in the ancient Scandinavian

'* Manifold of the cosmic gods

rid. Loki is the supreme leader

which he reaches above his

c is the fundamental and prime

r. : j - die giant-race alluded to

: World and its gods to the

.: r :rator f defender and leader -
■dfer.

GULLVEIG AND LOKI

Importantly, one cannot simply transfer all qualities, facts and mythologies from
Lucifer to Loki, or the reverse. Mythology is mythology and it is simply a tool for
humanity to chronicle spiritual experiences and revelations. Yet, the fundamental
significance of the deities' existence is the core of importance and the very relevant
source of understanding, and this may transfer from one deity to another. One must
know the difference between Lucifer and the Luciferian Powers, The Luciferian teach-
ings mention Lucifer as the Highest Principle of the Illumination. Yet, below him, so
to speak, resides other emanations that are Luciferian in form, effect and essence.

Let us take the god Azazel for example; he is not Lucifer,
but Luciferian. This because he is included in a system where
Lucifer/Satan already is the highest principle and by that he
becomes a lower aspect of the same essence, an essence
equalling The Heralds of the Black Light 1 .

1 According to the Nephilistic
Luciferian tradition.

2 Rooth, 1961, Loki in Scandina-
vian Mythology.

Lucifer is not in himself fallen, but has let his light fall into the cosmic abyss to enlighten
those who are receptive and of his essence.

GULLVEIG AND LOKI ANDROGYNOUS

It is pretty obvious that both Gullveig and Loki were viewed as being androgynous,
something that must have been passed down from their thursian forefathers as an
adaptation, as this is not a quality known amongst the gods. The very first known
thursian giants, Aurgelmir and l>rucJgelmir, were androgynous and this aspect seems
to have just been passed down to certain ragnarokian and sympathetic thurses,
amongst these are Nicmoggr, Gullveig and Loki. Loki in, what Rooth calls it, the
AsgarSr Myth 2 by Snorri (Gylfaginning 42) turns himself into a mare and lures the
stallion Svadilfari away with her neighing, some time later Loki as a mare gives birth
to the eight-legged giant horse Sleipnir. Sleipnir s deformity testifies of its giant-de-
scent. Veluspd in skamma supports Snorri's saga: «6l ulfLoki viBAngrbodu, en Sleipni
gat vuf Svadilfara», "Loki bore the wolf with Angrboda, and Sleipnir with Svadilfari",
and Lokasenna 33 testifies that Loki has given birth: «hitt er undr, er dss ragr er her
inn ofkominn ok hefirsd born ofborit», "it is incredible that a such unmanly ass-god
has come here, who has given birth to a child", which most likely refers to Loki
transformed into a mare. Rooth, amongst others, doubt that this is an authentic
ON Loki trait, but I feel that they misunderstand the essence of the trait itself. De-
formity and androgyny are thursian traits only, and they were not added to the sagas

161

Gullveigarb6k

1 An acosmic lineal remnant.

for them to be comical, they were added as testimonies of essential
thursian aspects, and their alienation to static form 1 .

LOKASKRA

The seering of the worshtpp

As a supernatural curse upon the cosmos,
I would say that Gullveig is the impulse and Loki is the consequence.

Sfnf

I am the almighty god,
I live in the shadov. s ol
I am no small god, I an

I dwell in darkness.
I jump from a shadow 1
I carve active runes on

No one can look into n
as my manifestation is
One I acknowledge, cm
accessible for they whe

One I call Helheimt fa
another I call Jotunhei
to the dsir and men.

Yet another I call Amsi
where I conjure G
and spin black
which I fasten upon
I spin and spin,
we alone know all
Its rim rests on the edg
The worlds are in r
I manifest through

My name is Loki
and I have influent
Sewn it shut

162

GULLVEIG AND LOKI

ed as testimonies of essential
to static form 1 .

LOKASKRA

The seering of the worshipper

cosmos,

tka. is the consequence.

Sfnf

I am the almighty god,

I live in the shadows of the dsir.

I am no small god, I am the greatest.

I dwell in darkness,

I jump from a shadow to another,

I carve active runes on everything I touch.

No one can look into my abyss,
as my manifestation is manifold.
One I acknowledge, one I conceal,
accessible for they who seek.

One I call Helheimr for those who see black,
another I call Jotunheimr
to the dsir and men.

Yet another I call Amsvartnir,

where I conjure Gullveig s runes

and spin black threads,

which I fasten upon gods, men, and the world s all corners.

I spin and spin,

we alone know all the worlds' corners.

Its rim rests on the edge of my sword.

The worlds are in my flaming grip.

I manifest through P.

My name is Loki

and I have influenced the entity of god.

Sewn it shut.

163

GULLVEIGARBOK

As a fly I defy,
as a wolf I am wry,
as a falcon I spy,
as a salmon I am sly.

As a man I am,
as a werewolf I damn,
as a god I sham,
as an ally I am.

Nothing can hinder Lo
Dvergsband tried to kc
what a mockery!
Nothing can keep Loki

As a shadow I haunt,

as one I am all and nothing,

as a power I drink from the horn of Chaos.

As enigmas I act,

as wisdom I am created,

as light I obscure the worlds.

I am smokeless flames.
Thus I am Loki.

They call me oath-breaker,
thus I care not for promises,
thus I care not for life.

Though they all are of my taste,

though they all are food for my hungry flaming jaws,

Thus they all feed my devotion.

They call me oath-breaker,
thus oaths are my forebode,
thus it does not burden me.

My flaming tongue always scorns and deceives,
thus it is my truth,
thus it is my wisdom.

Dvergsknifr tried to hinder me,
what a mockery!

164

GULLVEIG AND LOKI

Nothing can hinder Loki.
Dvergsband tried to keep me,
what a mockery!
Nothing can keep Loki.

165

Gullveigarb6k

Syn<

The Muspell-flames are my true manifestation,
the god know this, and dare not to seize me,
because I crush the entity of god at will.

I am the restlessness in the flames,

mankind knows this, I am their leader,

I devour the shining and incinerate the blind.

I am the first-born of the Muspell-flames,
from the south I am invoked,
I only acknowledge blazing will.

I spin the destruction,

I spin the runes of Miispell s carriers of iron-wolves

to ride the golden waves of wrath.

I dissolve in purpose to strengthen.
I am Surtr s blade.
I am Surtr s purpose.

I hold the key to the only lock,

the apparatus which is called contraction.

I devour illusions.

I cut divine power like clay.

My essence feeds the sons of Miispell.

I am the black fire and destructor of weakness.

I am the provoker of power and supernatural reasoning.

I am unlimitedness and lawlessness.

I am the spider,

I am the net,

I am the wrath the god should not have upset.

SUMMARY

I. Loki and Guttveigs reL
which complement each ot
world and its demiurge.

II. Loki and GuHveig an

werewolves, wolves, and su

III. Loki is the father c

IV Loki and Gullveig s j
world s "godhead" god or i
and thereby killing it.

V. Loki is a thursian gian
lead the vanir and the

VI. Loki is strongly con

VII. Loki is a master of 1

VIII. Loki s named
fust linked to Loki by

IX. Loki s mytholog
of Lucifer and Prom

X. And Loki, as well
rare quality only inborn

166

GULLVEIG AND LOKI

SUMMARY

I. Loki and Gullveig s relation is based on a companionship to act as a twin-power
which complement each other as a masculine and feminine alien opposition to the
world and its demiurge.

II. Loki and Gullveig are the begetters and ancestors of all monsters, e.g. troll,
werewolves, wolves, and supernatural beings.

III. Loki is the father of Jormungandr, Fenrir and Hel.

IV. Loki and Gullveig s purpose is evidently to infiltrate the very essence of the
world s "godhead", god or regin, in AsgarcJr and MidgarcJr to poison it from within
and thereby killing it.

V. Loki is a thursian giant, not an ass. He transformed himself into an ass to mis-
lead the vanir and the sesir; just like Gullveig under her disguise Aurboda.

VI. Loki is strongly connected to the Gambanteinn-myth.

VII. Loki is a master of transformation.

VIII. Loki s named "brother" Helblindi is most likely 6dinn, and he is therefore
just linked to Loki by an unsolved blood-brotherhood.

IX. Loki s mythological essence and traits in the sagas can be compared to those
of Lucifer and Prometheus'.

X. And Loki, as well as Gullveig, had androgynous traits in the ON sagas, a very
rare quality only inborn in giants.

■ling.

167

£orat loo

SUnoafc

JLohu iUummaft 1
ao tW tap ego Di

X-

• / -'\ ■:

* . 4 \

V«.

bail Lofti!

Come loose ano fulfill pour purpose!

£lnleastj pour blajing curat tj!

5 inoofte pour flaming essence!
5 ittoofte pour illuminating potner!

Lofti, illuminate me mx\\ pour flaming ittuspelMigljt
so tljat mp ego Dissolves and mp spirit becomes free!

.■sy^

^--ii i

GullveigarbOk

^^^N^c^fli

<SMfci

This survey is mainly born from Hdvamdl and Helgakvida Hjorvardssonar found in
Scemundar Edda, and Gylfaginning found in Snorra Edda. As well as Rydberg s Un-

dersokning i Germanisk Mythologi 1 18S6, II 1889, Bugge's De

1 Rydberg 1 1886, II 1889, Un-
dersokningar i Germanisk
Mythologi.

Nordiske Gude- ogHeltesagns Oprindelse II: Helge-Digterne 1896,
and Saxo s Gesta Danorum.

A STRATEGIC DEED TO PROVOKE THE WRATH OF RAGNA R0K

"Hyrrokin retaliated on the dsir with the help of Loki causing Baldr s death." 1

VII. Loki took that veri
help from the thurs I>iazL

VIII. He went back to
brother HocJr to shoot the

IX. The death of Bakk w

X. OcJinn took this the h
all.

XI. The gods could not
peaceable ground.

XII. By Frigg 's wifl. 6ft
offer a ransom for the den

XIII. But the corpse of]

XIV. And no one of the

BALDR MYTHOS OVERVIEW

I. Baldr got horrible nightmares: death bringing illusory apparitions visited him
at night and indicated that he would die.

II. HoSr went to war against Baldr and the &$ir.

III. Frigg, Baldr s mother, got everything to swear an oath: life, fire, water, earth,
ore and iron, rock and stone, tree, disease and animals.

IV. The gods amused themselves with throwing and shooting at Baldr in the
courtyard of Valholl.

V. Loki disliked that nothing hurt Baldr.

VI. In the disguise of an old woman, Loki went to Frigg and learned from her
that she had not taken an oath from a small sapling of mistletoe which grew west of
Valholl, because she thought it was too young to demand an oath from.

XV. CcHnn then sent :c
wolf with snakes as bridles

XVI. This made frdcr m
But all the gods asked

XVII. And they buinec
ring Draupnir and Baldr

XVIII. Odinns son
the living things in die

XIX. All cried for B

XX. Odinn uses foi
son Vali.

XXI. Loki gets pi

170

The Death of Baldr

<SM&i

*- Hjdrvardssonar found in
ia. As well as Rydberg s Un-
36, H 1889, Bugges De
II: Hdge-Digterne 1896,

VII. Loki took that very mistletoe and made an arrow from it assumedly with
help from the thurs I>jazi.

VEIL He went back to the courtyard, to the gods and helped Baldr s "blind"
brother HocJr to shoot the arrow at Baldr. Baldr fell dead.

IX. The death of Baldr was the biggest misfortune of all mankind and all the gods.

X. OcJinn took this the hardest and understood at once what this meant for them

all.

R.4IH OF RAGNA R0K

Id causing Baldr s death." 1

sory apparitions visited him

: i: .-. life, fire, water, earth.

nd shooting at Baldr in the

Fngg and learned from her
nistletoe which grew west of
md an oath from.

XI. The gods could not demand retaliation because it all happened on holy and
peaceable ground;

XII. By Frigg s will, Odinn's son HermocSr took the assignment to go to Hel to
offer a ransom for the dead Baldr.

XIII. But the corpse of Baldr was brought to his ship Hringhorni.

XIV. And no one of the gods could dislodge the ship.

XV. OSinn then sent for the giantess Hyrrokin which came riding on a thurs-
wolf with snakes as bridles. And she freed the ship with ease.

XVI. This made Dorr mad as he grabbed his hammer to crush the witch's head.
But all the gods asked him not to and stopped him.

XVII. And they burned Baldr s corpse, together with his wife Nanna, Odinns
ring Draupnir and Baldr s horse.

XVIII. Odinn's son got the promise of Hel for Baldr to return to the living, if all
the living things in the world cried for Baldr.

XIX. All cried for Baldr but one being, the giantess-witch called J>okk.

XX. Cdinn uses forbidden witchcraft at Rindr s, and Hocir is killed by Odinns
son Vali.

XXI. Loki gets punished for the deed of killing Baldr.

171

GULLVEIGARBOK

Note: Snorri s account of this mythological saga is constructed from both pre-
served poetic sources and lost.

1 Depicted by some medieval
authors as a Scandinavian Jesus
figure.

2 This direction and location of
the mistletoe sapling is most
curious to me. I figure that
Snorri chose west for the
sapling to grow as it is the clos-
est way to the outer rim of the
world from Valholl and heaven,
where the abyss Amsvartnir lies
and surrounds the worlds. West
might even have suggested that
the sapling was supposed to
grow in tJtgardr.

3 1 find this detail as being a
proof of how excellent Loki was
in the magical trait of transfor-
mation. He just transformed
himself into a woman and the
goddess Frigg, who being a go $
and should be more powerful
and sharper than a giant, just
bought his trick and gave away
what could be used to kill Baldr.
In contrast, when ]>6rr tried to
"transform" into a woman to
fool I>rymr in l>rymskvi5a he
failed as Prymr was very suspi-
cious, and it was Loki who had
to "convince" Prymr that the
dressed up I>6rr was a woman.

Baldr, the &s-god and protector of the sun - the promoter
of cosmic goodness and righteousness 1 , is the perfect target
to destroy if you want the dsir and their worlds to weaken as
a result of confusion and finally collapse. Indeed, this is ex-
actly what the cunning and triumphant primordial thurses
Loki and Gullveig thought of. I will here expound my per-
sonal theory of Gullveig s role in this strategic move; taken
from the ON mythology and some medieval sagas.

THE DARKNESS' PREPARATION AND
FORMATION

Before the killing of Baldr, he had nightmares, which he
called visions of his own death and was sure that he would
soon die. All the gods became troubled and thought of some-
thing that could save him. They agreed that Frigg would ask
for safety for Baldr from all kinds of dangers - fire, water, iron
and metal of all kinds, stones, earth, trees, sicknesses, beasts,
birds, venom and serpents - and to swear an oath not to harm
Baldr. This kind of an oath had to be a magical spell otherwise
arrows and rocks would be harmful. It is said that they all
agreed, but rime-thurses were not included in this list; Gul-
lveig and Loki did not swear any oath, nor did the worlds'
now most feared being, the furious world-hater £jazi, who
after being known as Valand and becoming his own wrath
turned into a terrible rime-thurs.

The saga explains further that a certain small sapling, a
teinn, of Mistletoe which grew to the west of Valholl 2 had not
sworn the oath not to hurt Baldr. Loki, the Ragnarokian prospector, who I believe
was involved in this plot from the beginning, knew exactly where to find this plant;
as he and Gullveig could have put a protective spell on the plant to be overlooked
by Frigg, a theory that I feel corresponds to the ON mythological narration tradi-
tion. However, Gylfaginning clarifies that Loki transformed himself into a woman
and went to Frigg to ask where this sapling grew, and Frigg gladly spoke of this.

When Loki had
and Gullveig s ally I>jazi

arrow from the Mi:
thereby called Mistill
banteinn in the ON nr
that Mistilteinn is actua
Snorri s Nafnaptdur -1.
to this myth.

Teinn means bran
used as a word for
laevateinn/haevateinnr,
thing is that Mistilteind h
venge belonging to Surti;
called gambanteinn in
vateinn/homateinn: Saxo
lating Fjelsvinnsmdls
sword-synonyms are in
that Loki made 6 and Pixri

From the day, or even c
fused to swear the o
which was going to trigge
the gods and the cosm ;
versary-teinn and cast Ma
mistletoes transform abo
revenge.

But why did Frigg ju
the oath? Something nms
have given it this purpos
started to get severe r
night and acknowledged 1
magical oath not to hurt B
in the whole cosmos to ag
the myths said that F „:
young to demand an oath
actual explanation? There
plants throughout the wc

172

constructed from both pre-

tne sun - the promoter
m re- is the perfect target
id their worlds to weaken as
; : rse. Indeed, this is ex-
■nphant primordial thurses
will here expound my per-
is strategic move; taken
me medieval sagas.

^TIONAND

had nightmares, which he
ir.z ras sure that he would
mbled and thought of some-
agreed that Frigg would ask
i of dangers - fire, water, iron
nees, sicknesses, beasts,
year an oath not to harm
► be a magical spell otherwise

fuL It is said that they all
ot included in this list; Gul-

o ath, nor did the worlds'
ious world-hater ]>jazi, who
ik) becoming his own wrath

at a certain small sapling, a
> the west of Valholl 2 had not
urn prospector, who I believe
where to find this plant;
a the plant to be overlooked
ivjfcological narration tradi-
rmed himself into a woman
Frigg gladly spoke of this.

The Death of Baldr

When Loki had gathered the Mistletoe 1 1 like to imagine that he brought it to his
and Gullveig s ally Ejazi who made, with his incredible blacksmith-craft, a perfect
arrow from the Mistletoe and cast ominous black magical powers into it, and it was
thereby called Mistilteinn, synonymous to the weapon Gam-
banteinn in the ON mythology; which is proven by the fact
that Mistilteinn is actually in a list for sword-kennings in
Snorri s Nafnapulur 42. Indeed, that is how I connect Ejazi
to this myth.

Teinn means branch, also rod and sapling, and it is often
used as a word for a sword in the old myths, as in
laevateinn/haevateinn 2 , gambanteinn 3 , etc. The interesting
thing is that Mistilteinn became a name for the sword of re-
venge belonging to Surtr, which is the same sword which is
called gambanteinn in the old sagas and laevateinn/hae-
vateinn/homateinn: Saxo called it cuspis in Latin after trans-
lating Fjelsvinnsmdl's name of the sword Broddr 4 . 5 All these
sword-synonyms are in analogy with the sword of retaliation
that Loki made 6 and I>jazi fulfilled.

1 Snorri says here that «Loki tok
mistiltein ok sleit upp», "Loki
pulled up the Mistletoe", as if it
was growing in the ground. It is
evident that Snorri had no
knowledge of the Mistletoe
plant, I doubt that he had ever
seen one, because it is impossi-
ble to make an arrow from it,
even more impossible from a
Mistletoe sapling.

2 Fj0lsvinnsmdl.

3 Skirnismdl.

4 Broddr means pike and in
Fj0lsvinnsmdl it is the name of
Haevateinn.

5 Rydberg, 1 1886, II 1889, Un-
dersokningar i Germanisk
Mythologi.

6 Fjelsvinnsmdh

From the day, or even earlier I would say, the mistletoe re-
fused to swear the oath, it was connected with the sword
which was going to trigger Ragna Rok and to scythe down
the gods and the cosmos. If Loki went to Pjazi and asked him to forge it into an ad-
versary-teinn and cast black runes upon it, I think it indirectly complements the
mistletoe s transformation from a plant to a Ragnarokian weapon - the sword of
revenge.

But why did Frigg just leave the mistletoe out? Or did this lonesome teinn reject
the oath? Something must have influenced this result. Better yet, something must
have given it this purpose for a very devastating reason. As stated above, Baldr
started to get severe nightmares: death bringing illusory apparitions visited him at
night and acknowledged his death. Frigg, Cdinns wife, queen of AsgarcJr, made a
magical oath not to hurt Baldr, and supposedly she had the power to make everyone
in the whole cosmos to agree with this oath. This depiction of her power is mighty;
the myths said that Frigg just let the mistletoe be: "because she thought it was too
young to demand an oath from". Well doesn't that sound like a fraud to escape the
actual explanation? There must have been an immeasurable amount of "too young"
plants throughout the world. Why just let this particular sapling be? It makes no

173

Gullveigarb6k

sense. So, the little tiny plant just simply gets away with not making the oath, sup-
posedly it had that much power that it could just say no and not be affected by
Frigg s mighty spell. Has this tiny mistletoe in some way more power than Frigg? I
don t think so; there must have been something that supported this mistletoe.

1 In Cleasby-Vigfusson, 1874,
An Icelandic-English Dictionary
and Zoega, 1910, A Concise Dic-
tionary of Old Icelandic flagd is
explained to mean an ogre
(ogress) or giantess, which is
analogous to ON troll, both
being supernatural giants and
monsters. Egilsson, 1931, Lexi-
con Poeticum confirms flagd to
be equivalent to troll.

2 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary, and
Hellquist, 1939, Svensk Etymol-
ogisk Ordbok.

3 Hellquist, 1939, Svensk Ety-
mologisk Ordbok under mara.

4 Cleasby-Vigfusson, 1874, An
Icelandic-English Dictionary, and
Zoega, 1910, A Concise Diction-
ary of Old Icelandic.

5 Snorri s narration says, from
his own personal conception
and understanding of the old
sagas, "in the disguise of an old
woman, Loki went to Frigg and
learned from her that she had
not took an oath from a small
sapling of mistletoe which grew
west of Valhall, because she
thought it was too young to
crave an oath from*

1. Baldr got struck by nightmares in the form of death bring-
ing illusory apparitions that visited him at night. This is a rep-
resentative aspect of Liliths craft, genius and succubus
demon-daughters Lilin in Judaic mythology, and I found a rel-
evant connection here with her and Gullveig. Gullveig is the
mother of all flagd 1 , giants, monsters, and troll, which Veluspd
in skamma 12 tells us: "Loptr got pregnant with the evil woman
(Gullveig); from this have all troll (flagd) come." And ON mara,
as in night-mare 2 , was in Old Scandinavia an ogress, a flagd, who
came to people at night and terrorized them. A very interesting
detail is explained by Hellquist 3 that mara derives from the Ger-
manic root mer, to crush, as the ON word merja 4 , which actually
would make the mara some kind of (or connected to) a death-
giantess, which makes the supernatural entity mara interlinked
with other supernatural beings (giants) as MargerSr, Sinmara,
and kveldrida. Gullveig herself is not narrated as being a bringer
of nightmares in the ON myths, but as I just proven she is very
much connected to it.

2. If Frigg was that mighty in magic to make everything not
be able to hurt Barldr, there is only one witch in the sagas that
can overpower a strong ass-spell like that, which I have proven
above, and that is Gullveig. Gullveig was created in the begin-
ning of the worlds by the ancestors of the ur-thurses Ymir,
Drudgelmir and Bergelmir. The dark powers of witchcraft and
runes were entangled and a part of Gullveig s essence, she was
the origin of the art. This was before even Frigg was born.

3. Loki, Gullveig s counterpart, was the one who found this
sapling. In the whole cosmos, there was just one tiny plant that
refused the oath and Loki knew where to find it 5 . And the only ones who assumedly
would be able to know about this sapling and its rejection would be Frigg and the
one supporting the teinn and "put the protective spell upon it." And I must say that
the wise Frigg have seen Loki trick the gods many times and the gods have had sus-

picion towards Loki becai
Loki know about this sapfc
and her husband s bit
member that Loki cot
able to trick Frigg by havm

I believe it was not
sagas, before Snorri s accoc
gods already. Remember
were already suspicions of
tually this was the last adn
him. I suspect that it \v*
the Old One in Jamvicr G

A NOTE ON THE MIS

It s interesting for me du
mistletoe of all plants to hi
non-fictional plant s stalk i
be able to make a strong
at the fact that the juice
stem are fatally poison ou:
blood 2 , which hunters in c
on their arrowheads, and
makes it pretty obvious th
the lethal arrow which kift
Snorri disregarded the fad
on and lives on other trea
lonely sapling growing by:
well that is just impo siblc
just oblivious to the sinisl
Baldr in detail and everyt
clear thing such as the fat
ground, or be made into m

Another inter*
ning has struck a tree Tr.
from lightning hitting a

174

fa not making the oath, sup-
• - : and not be affected by
m ore power than Frigg? I
■pported this mistletoe.

"i the form of death bring-
I him at night. This is a rep-
ait, genius and succubus
: "-' *ogy, and I found a rel-
nd Gullveig. Gullveig is the
ers and troll, which Veluspd
regnant with the evil woman
jUagd" come." And ON mara,
faoaria an ogress, zflagd, who
ized them. A very interesting

lara derives from the Ger-
I word merja*, which actually
tf (or connected to) a death-
mral entity mara interhnked
Lints > as Margerdr, Sinmara,
rt nairated as being a bringer
I iust proven she is very

i ^ to make everything not
f one witch in the sagas that
ke that, which I have proven
ag was created in the begin-
of the ur-thurses Ymir,
irk powers of witchcraft and
* GnBveig s essence, she was
te even Frigg was born.

was the one who found this
e was just one tiny plant that
he only ones who assumedly
tion would be Frigg and the
upon it" And I must say that
es and the gods have had sus-

The Death of Baldr

picion towards Loki because of it, and I have a hard time thinking she would let
Loki know about this sapling, even though Loki was a "trusted" giant within Asgardr
and her husband's blood-brother 1 . This is a paradox though, because we have to re-
member that Loki could transform himself into anything, and thereby would be
able to trick Frigg by having an appearance of a woman.

I believe it was not Loki alone who made this happen, at least not in the original
sagas, before Snorri's account, because he had such a delicate position amongst the
gods already. Remember, this Baldr-scheme happened near Ragna Rok and the dsir
were already suspicious of Loki, and you could say he was about to get caught, ac-
tually this was the last adverse deed he did until the dsir caught him and punished
him. I suspect that it was from the beginning a deed carried out both by Loki and
the Old One in Jarnvidr, Gullveig.

A NOTE ON THE MISTLETOE

1 This is one version, but in the
sagas the gods were at this time
of conflict on the verge of not
trusting Loki, so I think this was
just an easy way for the authors
to go around the facts.

1 But you can eat the leaves,
berries and stem and it will not
hurt you. It is even said that it
will make your immune-system
stronger and that it is effective
against some cancer-cells.

It's interesting for me that the old poets picked out the

mistletoe of all plants to be the deadly weapon, because the

non-fictional plant s stalk is pretty frail and you would not

be able to make a strong arrow from it. However, if you look

at the fact that the juices from the plant s leaves, berries and

stem are fatally poisonous when it comes in contact with

blood 2 , which hunters in our ancient times knew and used

on their arrowheads, and easily killed their prays with, it

makes it pretty obvious that the old poets used this plant as

the lethal arrow which killed Baldr. However, something which surprises me is that

Snorri disregarded the fact that the mistletoe is a parasitic plant, which is depends

on and lives on other trees and shrubs. In the Edda the author is talking about this

lonely sapling growing by itself on the ground, «en Loki tok mistiltein ok shit upp»,

well that is just impossible. This "disregard" tells me, once again, that the author is

just oblivious to the sinister sides of the mythology - meaning that he allegorize

Baldr in detail and everything around him, even the dsir, but misses a full moon

clear thing such as the fact that the mistletoe is not able to grow by itself on the

ground, or be made into an arrow.

Another interesting fact is that of an old saying; the mistletoe grows where light-
ning has struck a tree. This is interesting because Loki is said to have been created
from lightning hitting a tree, i.e. Farbauti and Laufey.

17S

GULLVEIGARBOK

And lastly, with the mistletoes infamous reputation of being able to open the
gates to the worlds of death, I think it fits pretty well in this myth.

HODR KILLING BALDR AND VALI KILLING H0DR

So, the gods amused themselves by throwing spears and shooting arrows at Baldr.
And Loki felt disgusted by watching it. However, as cunningly as always, Loki in a
disguise of a woman had already gone to Frigg and learned where to get this mistle-
toe, and I believe, made a weapon from it with tjazi s help. Then, he somehow got
Baldr s brother Hodr to shoot the black magical arrow at Baldr and he struck him
dead. Hodr, son of Odinn, known by earlier sagas to be an excellent hunter, warrior
and archer, was the perfect "puppet" for Loki to choose. Loki naturally wanted the
best archer for his and Gullveig s grand endeavor - somebody close to 6dinn and
Baldr who could easily join their game and aim at Baldr with precision without at-
tracting any suspicion. Indeed, Hodr s earlier hostile incident with Baldr over Baldrs
wife Nanna makes Hodr an even more ideal "puppet" which will bring him death
by brotherly retaliation and make him descend, too, into the underworld. That Baldr
and Ho5r have been enemies in the Old Norse mythology is proven in the epithets
ddlgr Hadar and Baldrs andskoti.

Now, let's take a look at Hodr s "blindness". How is it that one of the most suc-
cessful warriors and archers - he is also known for being a fine hunter - in the race
all of a sudden is called blind and has to get help from a malicious giant to be able
to aim his bow at a standing target? It makes no sense. I have a hard time believing
that the ancient poets just forgot about Hodr s skills and mistake him for a blind
fool. No way, evidently, it is Snorri that just made this up to fit his story. I am pretty
convinced that Snorri and other interpreters of the older sagas got it all wrong and
translated the words too literally. Because of the fact that Hodr was not aware of the
sly plans by Gullveig and Loki, he was kept in the dark and unaware (hence blind)
of the purpose of that lethal mistletoe-arrow; which fits in a common saying - which
is informal and slang - that reads that to be "blind" means that you "do not know
about something that other people know about" and does not mean physically
blind.

Here is my summary
Baldrs and skoti in V0I1
in Skdldskaparmdl 12 H
towards each other. It all
away that no one had
got lost. Suddenly he ran
on the version of the s
triumph in battle. They t
and aid him, and they
told Hodr that Baldr
love with, and she with run:
god Gaevarr; father to m
with the woman/womej, I
for Nanna s hand, Gaevarr
daughter, but Baldr had jus
would be enraged and
Hodr that there was a
vengeance is analogous to C
sword was almost impossib
impenetrable land, and gua
gus - who also wore an an
Gaevarr s advice in getrm
sword and the enriching an
hand, Hodr decided to go
advice and foreseeing. It
Hodr won 1 . After the wai
Nanna. However, Baldr did
war with Hodr and won. ]
haunted in his dreams by ap
Hodr went to war with Ba]
alone. Grieved by his las
lands where no human had
a cave where three unknov
them before, and it was fine
the wars with Baldr. T.
told them about his
victory the last time :
his enemies and that
ishment that strengthene

176

The Death of Baldr

of being able to open the
this myth.

HODR

shooting arrows at Baldr.
ingly as always, Loki in a

ed where to get this mistle-
elp. Then, he somehow got
at Baldr and he struck him
an excellent hunter, warrior
Loki naturally wanted the
ebody close to 6dinn and
with precision without at-
r. z: _ ent with Baldr over Baldr s
£* which will bring him death
r.:; tne underworld. That Baldr
mlogY is proven in the epithets

it that one of the most suc-
: ir j a fine hunter - in the race
■n a malicious giant to be able
Re. I have a hard time believing
Is and mistake him for a blind
is up to fit his story. I am pretty
m^s got it all wrong and
mat Hodr was not aware of the
ok and unaware (hence blind)
ts in a common saying - which
means that you w do not know
rod does not mean physically

Here is my summary of the battle between Hodr and Baldr. Hodr who is called
Baldrs and skoti in Voluspd 33, Baldr s adversary, and Baldr who is called dolgrHadar
in Skdldskaparmdl 12, Hodr s enemy; epithets which prove their history of enmity
towards each other. It all began when Hodr was out hunting in distant woods so far
away that no one had set foot there before him, he had gone so far in mists that he
got lost. Suddenly he ran into three witches (he met one or three witches, depending
on the version of the saga) who knew his name and claimed they could make him
triumph in battle. They told him that they would come invisibly to the battleground
and aid him, and they supposedly gave him an impenetrable chain-mail. They also
told Hodr that Baldr wanted Nanna; Hodr s own half-sister that he himself was in
love with, and she with him. (According to Saxo, Hodr was adopted by the moon-
god Gaevarr; father to Nanna, so Nanna is Hodr s foster-sister). After this meeting
with the woman/women, Hodr went home to his foster-father Gaevarr and asked
for Nannas hand, Gaevarr said that he would love to see him get married to his
daughter, but Baldr had just asked for her hand and Gaevarr was afraid that Baldr
would be enraged and kill him if he declined his request. However, Gaevarr told
Hodr that there was a sword that would kill Baldr (this mythological sword of
vengeance is analogous to Gambanteinn-Mistilteinn.) Unfortunately for Hodr, the
sword was almost impossible to get, it was hidden in an abnormally cold and most
impenetrable land, and guarded within a mountain by a forest-being called Mimin-
gus - who also wore an arm-ring which increases richness. After following all of
Gaevarr s advice in getting to Mimingus' abode, Hodr manage to obtain the mighty
sword and the enriching arm-ring. So when Baldr went to Gaevarr to ask for Nanna s
hand, Hodr decided to go to war with Baldr with Gaevarr s
advice and foreseeing. The first war between Hodr and Baldr,
Hodr won 1 . After the war, he went to Gaevarr to marry
Nanna. However, Baldr did not give up, this time he went to
war with Hodr and won. By this time Baldr started to be
haunted in his dreams by apparitions in Nanna s shape. Then,
Hodr went to war with Baldr a second time, but lost the war and had to retreat all
alone. Grieved by his loss he went out to the woods to wander the most deserted
lands where no human had yet set foot. In this land, all of a sudden, he came across
a cave where three unknown women sat. He recognized them because he had met
them before, and it was from them he got the impenetrable chain-mail he used in
the wars with Baldr. They asked him why he was wandering in their lands and he
told them about his failed war. He blamed them because they had promised him
victory the last time they spoke. They answered him that he had heavily weakened
his enemies and that he would probably win if he got some of the wonderful nour-
ishment that strengthened Baldr s powers. In so saying they caused Hodr to go into

1 The dsir fought on Baldr s side
in this war, which means that
HecJr went to war against the
dsir*

111

GullveigarbOk

battle with Baldr a third time. During the war, Hodr went out one night to spy on
his enemy, when he saw three disir, which Hodr presumed were the ones making
the strengthening nourishment, leaving Baldr s camp. He followed them back to
their abode, and after they had been acquainted with him one of the disir wanted
to serve Hod* some of the strengthening nourishment. However, the older one said
that it would be an act of treachery towards Baldr to give Hodr it too, but Hodr as-
sured them that he was just one of Hodr s men, not Hodr himself. So doing, he got
the nourishment and a mighty belt of victory. On his way back to his camp he met
his enemy Baldr and struck him with a fatal wound with his sword. Later Odinn, at
Rindr s, used witchcraft to spawn Vali to kill Hodr.

x Rydberg, 1 1886, II 1889, Un-
dersokningar i Germanisk
Mythologi.

In Saxo s hero-version of the Baldr-myth, Hodr as Hotherus
gets help in the war by someone Saxo called Helgo of Haloga-
land (in Porsteins saga Vtkingssonar, Saga of Thorstein son of
Viking, known as Halogi of Halogaland), whom Rydberg
proves to be Loki 1 .

This is obviously an Old saga, which just leaves us traces of its originality in
sundry newer sagas; e.g. Saxo s Gesta Danorwn and the Hdvamdl episode about
Loddfafhir, which can be compared to the Hodr-myth.

What I suspect in the drama about Hodr and Baldr s battle is that Hodr went as
far as the dark woods in the east which are often explained to lay in Jotunheimr in
ON sagas, and vast woods of mists, where Hodr got lost, which are often suggested
to be Jarnvidr, Gullveig s residence. It was in this misty and distant wood that he
met a witch, or three (3 is GuUveig-Heidr-Aurbodas magical and mythological cor-
responding number), who offered to help him in the battle against Baldr and the
dsir. I believe this referred to Gullveig as a giant-witch connected more than once
to war-myths.

If we look at the whole Baldr-myth and extract eleven fundamental events it
would be:

1 . Gullveig and Loki plan a strategy to kill Baldr.

2. Hodr goes to war against Baldr and the dsir.

3. Baldr is afflicted with visions of his own death.

4. Odinn visits Gullveig in the underworld to ask about Baldr s future.

5 . Loki collects the weapon called Mistilteinn.

6. Loki tricks Hodr into killing Baldr.

Baldr descends

8. The dsir visits
uses until all cry for

9. A giantess n .

10. The dsir revi

1 1. The dsir also
and as they canno:
RagnaRok.

Loki s part in this pL
ten proof of her inv
Several things point ae
ner Jarnvidjur in the Iran
to battle with Baldr and tfc
as it seems like a typical «
protective magical spell on
that Baldr had, 4 ) Gn^vei
that the dsir had to call fl
storms; an allegorization 6
the underworldly realm <
episode was a proof by ti
Gullveig 's daughter Hel is
refuses to let Baldr go. 6
that he stays in the under

BALDR'S FUNERAL i

The dsir took Baldr s ^ :
out to sea; his ship m
the dsir could not fine
strongest dss Port. So Odi
came, riding on a thursiaj
dare to guess that it
struggle by Odinris berse
giant-strength and
youth and got too big and
with big difficulty Fenrii
dwarves into pieces. It to

178

out one night to spy on

; were the ones making

He followed them back to

l him one of the disir wanted

L However, the older one said

e Hodr it too, but HocJr as-

bdr himself. So doing, he got

back to his camp he met

itb his sword. Later 6ciinn, at

ialdr-myth, HocSr as Hotherus
Saxo called Helgo of Haloga-
Saga of Thorstein son of
ogaland), whom Rydberg

os traces of its originality in
Hdvamdl episode about

attle is that Hodr went as
tained to lay in Jotunheimr in

•inch are often suggested
istv and distant wood that he
magical and mythological cor-
e battle against Baldr and the
ch connected more than once

eleven fundamental events it

isk about Baldr s future.

The Death of Baldr

7. Baldr descends into the underworld where he is kept by the giantess Hel.

8. The dsir visits Hel in the underworld to beg her to release Baldr, but she re-
fuses until all cry for him.

9. A giantess named Eokk refuses.

1 0. The dsir revenge Baldr s death by killing Hodr.

1 1 . The dsir also caught Loki for being the mastermind behind this whole plot,
and as they cannot kill him, he gets sent to Lyngvi and stays bound until
Ragna Rok.

Loki s part in this plot is evident, but Gullveig s is not. As there is not much writ-
ten proof of her involvement we have to understand the background to the myth.
Several things point to her involvement though; 1 ) it was most likely Gullveig or
her JarnvicJjur in the Ironwood who cunningly inspired and supported HocJr to go
to battle with Baldr and the cesir to prepare a solid wedge between Hoclr and Baldr,
as it seems like a typical and cunning thing for her and Loki to do, 2) the strong
protective magical spell on the mistletoe teinn, 3) the deathly visions and nightmares
that Baldr had, 4) Gullveig made sure that Baldr s funeral ship would not move, so
that the dsir had to call for her aid to "push" it out to sea as a giantess of the eastern
storms-, an allegorization for Gullveig as Hyrrokin to send (as in killing) Baldr into
the underworldly realm of her daughter Hel - I am convinced that this strange
episode was a proof by the authors of Gullveig s involvement in Baldr s death, 5)
Gullveig s daughter Hel is of course in alliance with Loki and Gullveig and therefore
refuses to let Baldr go, 6) Gullveig as the giantess l>okk refuses to weep for Baldr so
that he stays in the underworld bound by the giants.

BALDR'S FUNERAL AND HYRROKIN

The dsir took Baldr s corpse to the sea to give him an honorable funeral in his ship
out to sea; his ship was well-known and called Hringhorni. The ship was big and
the dsir could not find the strength to move the ship from land, not even their
strongest dss ]>6rr. So Odinn called for the giantess Hyrrokin from Jotunheimr. She
came, riding on a thursian wolf, as big as a bear, with poisonous snakes as reins (I
dare to guess that it was supposed to be Fenrir she came riding on; because the
struggle by OcJinns berserks to toss him to the ground, shows the wolf s immense
giant-strength and this allegory is familiar with the myth when Fenrir was in his
youth and got too big and wild for the dsir to control, and finally they captured him
with big difficulty. Fenrir just ripped the magically strengthened chains made by
dwarves into pieces. It took them three attempts and T^r s hand before they were

179

Gullveigarb6k

1 «Pd var sent ijotunheima eftir
gfgipeirri erHyrrokkin hit, en er
hun kom og reid vargi og hafdi
hoggorm ad taumum, pd hljop
him af hestinum, en Odinn
kalladi til berserki jjdra ad gceta
hestsins ogfengu peir eigi haldid
nema peirfelldu hann. Pa gekk
Hyrrokkin dframstafn nokkvans
og hrattfram ifyrsta vidbragdi,
svo ad eldur hraut dr hlunnunum
og land oil skulfu». - Gylfagin-
ning.

2 If you read about l>6rr you will
see that he is known as a
grumpy and childish killer of
women - take Gullveig and Hel
as examples.

3 My personal translation would
be: "The very strong giantess
made OSinn's ship lumber
forth, and Odinns warriors top-
pled over her horse."

4 Because Litr is a name of a
dwarf in Voluspd: <<Veggr ok
Gandalfr, Vindalfr, Poring Prdr
ok Prdinn, Pekkr, Litr ok Vitr,
Nj/r ok Nyrddr, nu hefi ek dverga,
Reginn ok Rddsvidr, rett of
ta\da».

s «Pd stdd Por ad og vigdi bdlid
medMjollni, enfyrirfotum hans
rann dvergur nokkur, sd er Litur
nefndur, en Pdrspyrntifceti sinum
d hann og hratt honum i eldinn,
ogbrann hann». - Gylfaginning.

able to chain Fenrir down.) She jumped off the wolf and Odinn
ordered four berserks to hold it down but they could not find the
strength until they heaved him to the ground, a wolf this big and
strong must have been Fenrir. Hyrrokin went up to the ship after
Odinn had asked her to launch it in the sea, and in one move-
ment she tossed the ship with such speed that flames burst out
from out under the ship and the ground quaked 1 . P6rr with his
childish and grumpy temper got so mad that he grabbed his ham-
mer in order to crush Hyrrokins head 2 . However, the sesir asked
]>6rr not to kill her, saying that they wanted peace between her
and them.

An interesting thing is to compare the sagas and see the de-
velopment of its contents. The Old Norse rune-masters warned
about one staring blind on the text because they were written
down hundreds of years after being orally spread. The Gylfagin-
ning was inspired by the older Hiisdrdpa which explained the
myth about the giantess' arrival and her transportation:

Husdrapa:

Fulloflug let fj alia
fram hafsleipni Jpramma
Hildr, enn Hropts of gildar
hjalmelda mar felldu. 3

Gylfaginning:

t>a var sent i Jotunheima eftir
gygi J>eirri er Hyrrokkin het,
en er hun kom og reid vargi og
hafoi hoggorm ad taumum, ]?a
hljop hun af hestinum, en
Odinn kalladi til berserki fj6ra
ad gaeta hestsins og fengu ]?eir
eigi haldid nema ]?eir felldu
hann.

Then something really interesting happens, before the very feet of l>6rr runs a
litr (often interpreted as a dwarf*), which means salmon and is also an epithet to
Loki. P6n kicks Litr into the flames of the funeral pyre and he burns 5 . This is so out
of context that the authors had to have been signifying something with this Litr
character. One of my personal understandings of this is that the author wanted to

allegorize t»6rr as Lc
captures Loki in the gi
thor made an epic alle

First of all, Hyrrokin
wanted to have Gullveit: I
lowing her task from the
arrives in the myth as a
calling him Litr. Maytx
wrong, that instead it
enjoy the burning of B
kicked him into the rl
created from flames a:
are flame-resistant ac
likely wanted to emphisiz*
deed - Loki-Litr and Gulh
his task from the begmnii
episode. As an ending of tt
neral - Hyrrokin and Litr fa
Loki s plot, that I pers : n £ ':
and listeners of this mvth ti
of Baldr and the trigger of P

BALDR IN HEL'S GRI

After the death of Baldr anc
Hel; goddess of the unden
turn. Hel cunningly told O
mis under the condition ti
death. But there was on
was, the giantess sitting oc
*I>0kk will weep dry tears
turned to the living. This in
not anywhere in the nr
wanted the evil behind tht
and between the lines it wa
Loki, and Hel s opposib
which means "thanks"

180

The Death of Baldr

oped off the wolf and OcHnn
at Aey could not find the
ound, a wolf this big and
: * r. /ent up to the ship after
n the sea, and in one move-
i speed that flames burst out
ound quaked 1 . t>6rr with his
mad that he grabbed his ham-
ad 1 . However, the aesir asked
* anted peace between her

ire the sagas and see the de-

e rune-masters warned

i because they were written

_ly spread. The Gylfagin-

.:...: which explained the

ler transportation:

fbgmning:

rar sent i Jotunheima eftir
eim er Hyrrokkin het,

-.: r. _ : Kom og reic5 vargi og
':: r ggorm aS taumum ; {>a
pp hiin af hestinum, en
inn kail ad i til berserki fjora
peta hestsins og fengu J>eir
i haldid nema J)eir felldu
in.

= the very feet of ]>6rr runs a
non and is also an epithet to
e and he burns 5 . This is so out
ing something with this Litr
is that the author wanted to

allegorize l>6rr as Loki s captor; because of the saga of Franangrsfors where J>6rr
captures Loki in the guise of a salmon. Instead of just giving I>6rr an epithet, the au-
thor made an epic allegory of I>6rr kicking Loki into the fire.

First of all, Hyrrokin is another name for Gullveig, and in some way the authors
wanted to have Gullveig s essence present, and assumedly show how Gullveig is fol-
lowing her task from the beginning and to the very end. The same goes for Loki, he
arrives in the myth as a salmon, which the tricky Old Norse authors try to hide by
calling him Litr. Maybe the translators and interpreters of the old sagas got it all
wrong, that instead it was Loki as a salmon coming swimming in the sea to spy or
enjoy the burning of Baldr s corpse and funeral. And that I>6rr spotted him and
kicked him into the flames of the pyre, which would not kill him because Loki was
created from flames and instead he would take pleasure in it. Both he and Gullveig
are flame-resistant according to the old sagas. The author of this epic myth most
likely wanted to emphasize the intelligence and masterminds behind this strategic
deed - Loki-Litr and Gullveig-Hyrrokin. Loki, just as Gullveig, is here following
his task from the beginning and to the very end by showing up in this funeral
episode. As an ending of the myth of Baldr s death - the whole myth of Baldr s fu-
neral - Hyrrokin and Litr holds so many allegories and indications to Gullveig and
Loki s plot, that I personally believe that the authors wanted to reassure the readers
and listeners of this myth that Gullveig and Loki were the foundation of the killing
of Baldr and the trigger of Ragna Rok. Although, the saga did actually not end there.

BALDR IN HEL'S GRIP

After the death of Baldr and when he is staying in Niflhel, OcJinn and the aesir asked
Hel; goddess of the underworld, to give Baldr and his wife Nanna the chance to re-
turn. Hel cunningly told OcJinn and the aesir that she could grant Baldr and his wife
this under the condition that all the beings throughout the world will weep for his
death. But there was one, one grim being that rejected this action: I>okk her name
was, the giantess sitting outside her cave and refused to weep for Baldr. She said:
"Eokk will weep dry tears for Baldr." Because of this, Baldr and his wife never re-
turned to the living. This mysterious being is not mentioned elsewhere in the sagas,
not anywhere in the mythology as a whole. I think it is obvious that the authors
wanted the evil behind this plot - the killing of Baldr - personified and disguised,
and between the lines it was self-evident that Pokk was a manifestation of Gullveig,
Loki, and Hel s opposition. Furthermore, isn't it curious that she had the name Eokk
which means "thanks"? «Baldr vceri grdtinn or helju», "that Baldr shall be wept out

181

Gullveigarb6k

of hel"; is it Hel the giantess, the dead, or Helheimr? I think E^okks wonderful answer
is as diffuse as everything else concerning Hel: «haldi Helpvi, er hefir», "Hel shall
keep what Hel has". Again, is it Hel the giantess, the dead, or Helheimr? In my opin-
ion, logically t>okk is Hel, as it is Hel who asks for everything in the worlds to weep

for Baldr s death for her to release him. Just one refused to weep
and it was a giantess sitting in a cave, ihelli 1 -, Old Icelandic hella
is a rock, like the Swedish word "hall". Liljenroth in his book Hel
- den gomda gudinnan claims that Hel was from the beginning a
mother giantess worshipped as a rock, hdll-hella, and this is
where her name derives from. Snorri might have been familiar
with this assumedly primitive rock- worship, as in the sagas authors preferably con-
nected characters with certain objects or locations, just as they connected Gullveig
with dark and deep forests in the mythos. Why this mysterious giantess in the rock-
cave has the name Eokk, thanks, is for me an evidently ironic name for Hel to tor-
ment the gods a little extra with her morbid spectacle - a trait not far from her
father s. My point is that I believe Hel was just messing around with the gods and
Baldr, as she had the power to just say no when the gods asked for Baldr back.

1 *finna peir i helli nokkurum,
hvargygrsat Hon nefndist Pokk.
Peir bidja hana grdta Baldr 6r
Helju».

Baldr has to suffer dea
lveig and Loki have him e
chain-reaction will t'olloi
own son undergo eterna
son from it. Indeed, even
all" - which includes the
Gullveig and Loki kill hi
to live amongst giants. Ii
he just stood aside and le
foolishness than the killi

In my interpretation c
the highest god, saying fa
they were so haphazard
saying in their own >i£is

Pokk mun grdta purrum tdrum Baldrs bdlfarar;

kyks ne daubs nautk-a ek Karls sonar,

haldi Helpvij er hefir.

182

The Death of Baldr

:_" .-". I*0kk s wonderful answer
k Hel fan, er hefir», "Hel shall
ad, or Helheimr? In my opin-
-.itaing in the worlds to weep
lim. Just one refused to weep
»e, : >:eUi l ; Old Icelandic hella
iff". Liljenroth in his book Hel

d was from the beginning a
. hall-hella, and this is
wri might have been familiar
sagas authors preferably con-
st as they connected Gullveig
pfee n ous giantess in the rock-

jrnic name for Hel to tor-
de - i trait not far from her
round with the gods and
nis asked for Baldr back.

Baldr has to suffer death and does not get the chance to return to life, now Gul-
lveig and Loki have him exactiy where they wanted him and by this the ragnarokian
chain-reaction will follow. It is bit ironic that Odinn, god of the dead, has to let his
own son undergo eternal death, and OcJinn himself had no power to free his own
son from it. Indeed, even though it is said that OcJinn is the "wisest one" and "knows
all" - which includes the future (according to e.g. Veluspd and Lokasenna) - he lets
Gullveig and Loki kill his own son and send him to the underworld where he has
to live amongst giants. In the myths OcJinn grieves the most over his son, but still
he just stood aside and let them kill him. This myth tells almost more about Odinns
foolishness than the killing of his son.

In my interpretation of this, either the ancient Scandinavian authors patronized
the highest god, saying he is too oblivious to foresee the killing of his own son, or
they were so haphazard themselves that they did not understand what they were
saying in their own sagas.

: - :wr;

183

II: Fjolkyngi

GULLVEIGARBOK

FOREWORD

This part of the book holds the esoteric aspects and praxis of my own workings of
witchcraft in the line of what is called the Thursatru Tradition - I>ursatru sidr - and
it divulges a small part of my magical Gullveig-workings. I share this black art as I
know that it will benefit the rime-thursian power of Gullveig. I will not go into detail;
merely give examples of good ways to work with Gullveig.

It must be remembered that these are my individual workings; the Old Norse
tradition, Gullveig and Loki, together with my assorted sorcerous background have
assisted me in developing my individual sinister path and tradition. Certain litera-
ture, traditions, and people have inspired me as well, and in that way helped me
with understanding and enlightened my eclectic approach to a Gnostic Left Handed
path.

What I present below in this part of the book I would call a pure inspirational
text rather than a complete system that can be adopted just by anyone.

There are certain principles I consider important in a successful and resultant
practice in the line of the Thursatru Tradition, and that is what I will put emphasis
on in this chapter; I split my sicJr into three:

Sidr - The Tradition

. Bldt - Worship
• Seta - Meditation
. Vitt - Practical magic

THE PURSATRU SIDR

Here I want to bring up in short the Pursatrti and Jetnatru; anglicized to Thursatru
and Jotnatru. I will focus more on the concept of Thursatru because it is more of a
correct name for this line of religion, tradition and praxis, according to the Old
Norse fornsidr (Old tradition: I rather call it sidr than fornsidr (with of course the
full understanding of the essence offdrnsidr), as this tradition should move on and
expand, not stagnate in a previous era; that would be to fail the worship and witch-
craft of our Old ancestors, which the sidr is built upon. They considered it to be
vital for the next one to continue their sidr.) First I want to make clear that there

was no Pursatru or \
designed to point out
though the foundation

Thursatru means b.
with pursar (anglicized tc
praxis. With the usage? of
powers, the true essences
the underworld as a w
the Krune, and this rune
known as bind-runes
used in many sundry way;
holds both the h-rune and
figure of the t-rune and po
bind-rune or sigil for the!
it is all of a sudden a
is what the t-rune icpres
cultus.

So what powers are we
bring up a few pursar vih*
"tfmir who is called by
padan afkomu attir, pad er
He created Pnidgelmfl 1
Bergelmir borinn- f Pmdgeh
thurses were created from
mostiy rime-thurses an.
acters in mythology and 1
ctsir, probably two of the <

Their children are of cc
standing and studies Fem
Hel is chief-ruler of N i tlh<
all his sons of MuspeDjfc
the Ragna Rok mytho
after being betrayed bv d>
thurses. NicJhoggr and his
it and kill it from wit
Beli and his dog-headed <

186

FJ0LKYNGI

of my own workings of
bdition - Eursatni sicJr - and
I share this black art as I

t v I will not go into detail,

= -*»

al workings; the Old Norse

[ sorcerous background have

■id tradition. Certain litera-

ir. :. m that way helped me

3 a Gnostic Left Handed

_-.: call a pure inspirational
anyone.

a a successful and resultant
iiat I will put emphasis

ttru: anglicized to Ihursatru
satru because it is more of a
faxis. according to the Old
: 3r (with of course the
ii:Don should move on and
lil the worship and witch-
il They considered it to be
ant to make clear that there

was no Pursatru or Jetnatru known in Old Scandinavia, these are modern names
designed to point out the line of Old Norse religion, tradition and praxis - even
though the foundation and essence of Pursatru has an established tradition today.

Ihursatru means basically the belief in thurses, it is the name of the workings
with pursar (anglicized to thurses pi.), the whole of their religion, tradition and
praxis. With the usages of the Old Norse plural form {mrsar it aims at the thursian
powers, the true essences of the darker and adversary aspect of the giant-clans in
the underworld as a whole. The essence of the thursian powers dwells as a whole in
the Krune, and this rune is the symbol of the entire Ihursatru. Runic combinations
known as bind-runes will only strengthen the Krune s meaning and power and are
used in many sundry ways; this is by the Old tradition -fornsidr. The Krune itself
holds both the Krune and the t-rune in pursatru, if you just take the top v-shaped
figure of the t-rune and put it vertical on its stem, which makes the r^-rune a perfect
bind-rune or sigil for the body of Pursatrti. Indeed, to use the Krune as a bind-rune
it is all of a sudden a rune oftaujr, which means sorcery or even a talisman, and this
is what the f-rune represents here: taufr as in non-static dynamic power of the
cultus.

So what powers are we talking about, who is J>urs and who is )0tunn 7 . Here I'll
bring up a few pursar who all are of great importance: The primordial ur-thurs is
ifonir who is called by his own rime-thurs race Aurgelmir: the first of them all. «En
padan afkomu cettir,pad eru hrimpursar. Hinn gamli hrimpurs, harm kollum vir Ymi».
He created &ru(5gelmir the six-headed thurs, Bergelmir was his son («pa vat
Bergelmir borinn; Prudgelmir varpessfadir, enn Aurgelmir afi».) Indeed, many more
thurses were created from this race; many are mentioned throughout the mythology,
mostly rime-thurses and adversaries to the aesir. Loki and Gullveig are two key char-
acters in mythology and worship; both are thurses and eminent enemies with the
dsir, probably two of the oldest thurses.

Their children are of course thurses: Jormungandr, Fenrir and Hel; to my under-
standing and studies Fenrir belongs to the Miispell-race (like his father Loki) and
Hel is chief-ruler of Niflheimr (of the Nifl-race like her mother Gullveig.) Surtr and
all his sons of Muspellzheimr are thurses and they all have a very important role in
the Ragna Rok mythos. I>jazi and his brothers Icli and Gangr turned into thurses
after being betrayed by the dtsir. Nidhoggr dwells in Niflheimr, the home of all rime-
thurses. Nidhoggr and his breed are gnawing on the roots of the world-tree to poison
it and kill it from within - this allegorizes the sole purpose of the thursian powers.
Beli and his dog-headed clan belong to the rime-thurses, etc.

187

GULLVEIGARBOK

The Thursatru worship has its foundation in the underworld; Jotunheimr and
Helheimr, and in Chaos; Niflheimr and Miispellzheimr. The anti-cosmic and sinister
powers of Jotunheimr and Helheimr are worshipped as adverse entities. Equally,
the rime-world in Chaos, Niflheimr, with its deformed and icy thurses, the world
where Gullveig once walked out from and where her essence still dwells, and where
Hel is the chief-ruler (Nifl-Hel) is worshipped as an acosmic and anti-cosmic eitr-
current invading the cosmos. Miispellzheimr, also in Chaos, with its ruler Surtr is
worshipped as the flaming world, where once Loki sprang out from. The worship
is devoted to the thurses, to uphold them and sacrifice to them so that they will
grow in power. The tradition that comes with this worship holds Old Norse rituals
in many forms, a tradition that comes with devotion and black magical praxis. The
practical sorcery of this tradition is very important and has been since ages before
the Common Era. All of this is very important to respect. The rune-row is a central
tool in the Thursatru Tradition, the calling for the powers includes it, and the black
magical praxis is based on it and its mysteries. So therefore it is very important to
understand all of the runes, its old language, and its usage - this is an essential part
of the Thursatru tradition.

Jotnatru is the name based on the word jetunn, which is in analogy with the more
benign giants who most often are friends with the cesir. It's very confusing in the
Old sagas because many authors mix the words purs and jotunn in sentences as if
the words meant the same, but they do not. That is the main difference between
Pursatru and Jotnatru, and this is why Jotnatru is an inappropriate name for a cultus
opposing the dsir.

After the sun has gone
She likes the dark of the
east of the underwoii
heavily. This is the time|
so she will come climb ins
She, the Old One comes ;
black staff of thursian paw
black robes she sits in
of your offerings to her, sfa

There it is, high upon a
are sitting and watching tfa
close to these woods, no <
months are corresponding
be Gullveig's most do mm,
one of the most important
The winter nights in my ai
you in feeling the cold *.
to this place is old and onh
to stroll in these woovi - -
curiosity, aggression, and ]
adrenaline infecting vour
ence can be felt as a linga
but they themselves hi.
the hill and smelled the

These woods are old
the darkness is so thick it t
presence, as the darkness
you. The tree giants are st
look like dark giant d
flames of my torch ai

18S

vorld; Jotunheimr and
le anti-cosmic and sinister
adverse entities. Equally,
d icy thurses, the world
ce still dwells, and where
c and anti-cosmic eitr-
- with its ruler Surtr is
out from. The worship
them so that they will
bip holds Old Norse rituals
d black magical praxis. The
1 has been since ages before
Ihe rune-row is a central
rs includes it, and the black
: : :-. it is very important to
ge - this is an essential part

in analogy with the more

It's very confusing in the

tunn in sentences as if

e main difference between

■propriate name for a cultus

Bl6t

After the sun has gone down her power opens up akin to the eyes of the night-owl.
She likes the dark of the night - the nightside of time - like her abode deep in the
east of the underworld, where it is cold and dark, and where the Nifl-mists drift
heavily. This is the time for calling her name and to give homage to her, and doing
so she will come climbing from the depths and out of the earth to answer your call.
She, the Old One comes as the old wise crone, and sits with you; leaning on her
black staff of thursian power, a tool holding the very essence of Chaos' wrath. In her
black robes she sits in delight of your devotion. She hungers for you and the essence
of your offerings to her, she absorbs it like ravenous flames.

There it is, high upon a hill, the big rocks with heavy snow-caps look like giants
are sitting and watching the stars in the night. This is the wilderness, no civilization
close to these woods, no cars or filthy city noises. It is winter, and the long winter
months are corresponding to Gullveig and her Nifl-blood. I consider the winters to
be Gullveig s most dominant time of the year, especially Midwinter, which I see as
one of the most important nights in homage to Gullveig, Hel and the Nifl-powers.
The winter nights in my area are normally about -20°C to -35°C, a trait which helps

you in feeling the cold of Niflheimr in your very own core. The trail which leads up

to this place is old and only animals use it today. Brown bears and wolves are known
to stroll in these woods - without fire you are a potential target for the wild beasts'
curiosity, aggression, and hunting instincts. This knowledge makes you alert; as the
adrenaline infecting your blood the motivation is infecting your spirit. Their pres-
ence can be felt as a lingering reek of their urine and fur, their essence dwells here
but they themselves have run away as soon as they heard my car pulling up below
the hill and smelled the smoke from my torch.

These woods are old, you can tell by the intensity of the entities dwelling here,
the darkness is so thick it feels like it chokes you, but it is only the effect of its unseen
presence, as the darkness here is like a thick fog, you can actually feel it embrace
you. The tree giants are standing tall and murmuring in the non-present wind, they
look like dark giant defenders protecting the primeval hill of the thurses. The edgy
flames of my torch are dancing eagerly and cast shadows in the dark, the flames

189

Gullveigarb6k

make the wood come alive, and its heat is wanted in this rime-clad home. The deep
snow and the up-hill trail tests your strength as it is like walking in water up-stream,
it is like the snow wants you to give up and go home. But the very thought of what
awaits you makes you not care about small distractions like this. As I arrive I first
see them, the big rocks which are acting ritual monuments represent Loki, Gullveig
and their adverse purpose, at the same time are they representing Jormungandr,
Fenrir and Hel. They are waiting patiendy for the flames to rise again in their lair.

Thoughts on Gullveig and memories of my last visit going around in my head as
I carefully stack the fire- wood in place in the fire-pit I once made by digging a big
deep hole in the rocky ground, and I put large rocks around it to hold the flames. A
long time ago I and some brothers made this place with just shovels and pick-axes;
it took months of hard labor. And at last the flames lit up the giant rocks at the Gul-
lveigarbl6t, "Heil Gullveig!" Specially gathered herbs and resin are mixed in the
stone-mortar and the pestle roughly grinds the mix to nice incense granules. With
my hand-made spoon - made out of Yew-tree and which has Gullveig-runes burnt
into it - the incense mix is put on glowing charcoal with my left hand; "Heil Gullveig!
Heil HeiSr! Heil Aurboda!" The smoke is well-known and awakes my spirit, a certain
focus. Heavy breathing makes you dizzy and all of yourself getting warm and in-
spired. With my inner eye I envision Gullveig s essence filling the darkness, my sigils
and fetishes are activated and call for her, like howling wolves in a February night,
mist is steaming from the jaws of the hunters, reeking and rising, the smoke comes
from the underworld, from her abode, it is her essence, like the foul breath of Garmr.
I fall into meditation, a preparation for the receiving of Gullveig s presence. With
my inner voice I call, materialize runes with my inner voice and cast them smoking
and icy down into the depths of JarnvicJr. Semi-improvised and wordless rune-songs
flow in my thoughts; celebrating and glorifying In Aldna. The void spreads like the
black wings of Nidhoggr around me; I can feel the might of the abyss and the claus-
trophobic clasp. I can feel the freedom of my spirit ripping the shackles apart like
the father of Fenrir. I have now awoken the anti-cosmic powers and they climb up
from under the earth like black shadowy mists. The crystal fetish which is repre-
senting Gullveig s heart is as cold as ice and bites my left hand as I devotedly touch
it, the clay-pot which represents the well of thursian wisdom - Hvergelmir - is boil-
ing with eitr and the black magical runes inscribed are now glowing bright bloody
red. So does the master bind-rune Pursakross, which is placed in the east together
with the fetish Gullveig-idol. The black magical wand is held with both hands and
used as a focal point of Gullveig s influence as the words of power are uttered:

"Heil Gullveig:
heil Gullveig: heilgjgrsa
heil Gullveig: undir ok fc
heil Gullveig: tried nojh:

"Gullveig- ThegUm&sso}
I cast runes consecrate
hungry arms ofM) V;

"Gullveig - The th pom
See me from your :
you dwell"

"Gullveig, I invoke ; M
J implore you to possess m
I implore you to take me 4
I implore you to embraL
and rime-thursian wisdom

"Gullveig, I invoke
Let my rune-songs Unkyo
to your black magic.
Let my rune-songs hoi

"Hail Gullveig! Disbibuh
"Pau hetu hana pndr hrm
pursamarin sent er ein ok
prysvar brend:pryy. s r bc
mcer okfelagi Loha. vmdk
"Drottning jdrnv&ja. pur.
Drdttning jdrntdfa, pursa
"heil Gullveig in vit he

190

~ w dad home. The deep
walking in water up-stream,
*.e very thought of what
- _ • . this* As I arrive I first
Bts represent Loki, Gullveig
representing Jormungandr,
s to rise again in their lair.

iiound in my head as

made by digging a big

one it to hold the flames. A

ist shovels and pick-axes;

•-.: rocks at the Gul-

resin are mixed in the

incense granules. With

- -i? Goflveig-runes burnt

nnr len hand; "Hdl Gullveig!

: i- _ • ^ > my spirit; a certain

:r>c-: jetting warm and in-

— - r - :. - e darkness, my sigils

wolves m a February night,

.sing, the smoke comes

ie foul breath of Garmr.

f Gullveigs presence. With

ice and cast them smoking

nd wordless rune-songs

a. The void spreads like the

f the abyss and the claus-

r_- r tne shackles apart like

p -/ere and they climb up

ystal fetish which is repre-

t hand as I devotedly touch

loin - Hvergelmir - is boil-

iow growing bright bloody

ed in the east together

■ •: « with both hands and

s of power are uttered:

Bl6t

"Heil Gullveig:

heil Gullveig: heilgfgr serifs ok svartra runa:

heil Gullveig: undir ok djordu:

heil Gullveig: med nefnin Heidr Angrboda Hyrrokin Aurboda:"

"Gullveig- The giantess of darkness from 6r-Chaos!

I cast runes consecrated in your alluring name, burning and smoking, into the

hungry arms ofMyrkvidr; to seek to uphold your wise monstrosity."

"Gullveig- The thurs-powers' giantess from Jdrnvidr!

See me from your mighty and black seidr-throne; from the deepest darkness in which
you dwell."

"Gullveig, I invoke you! Wise and old giantess!

I implore you to possess my spirit with your black and anti-cosmic power.

I implore you to take me as your disciple in the thursian knowledge and runes.

I implore you to embrace and infuse my devoted spirit with your thursian strength

and rime-thursian wisdom."

"Gullveig, I invoke you! Wise giantess!

Let my rune-songs link your powers with mine; and bind my rune-songs

to your black magic.

Let my rune-songs hail you as my dark and almighty queen."

"Hail Gullveig! Distributor of the words of darkness!"

"Pau hetu hanaprjdr hmdilegar pursameyjar:

pursamcerin sem er ein okprjdr:

prysvar brend: prysvar borin:

mar okfelagi Loka: vercfr ok drottning Myrkvidar:"

"Drottning jdrnvidja, pursameyja, gygja, myrkrida, illra britifa:

Drottning jdrnulfa, pursarekka, jotna, svartblotmanna, illra vera:"

"heil Gullveig in vitra: heil Gullveig in aldna:"

191

GULLVEIGARBOK

I then open up and receive the attention from Gullveig, she always comes and
sits with me, faceless she smiles at me and nods in approval and shows me that she
is willing to share. For a long time I just sit as if meditating and studying Gullveig
with my inner eye as she shows me things, things of importance, this could take an
hour or two. Then, when the time is right I bring out my Bldtspcenir, they are my
specially made divination tools - which I use to communicate with Gullveig above
all. I call them my "claws" because they are made from genuine wolf claws, for me
they symbolizes the restless wolf who stroll in the dark to scout out what he is look-
ing for, no rest and no mercy. My claws have been through these journeys as they
come from a wild wolf: they have hunted, they have killed, and they have devoured
their victims. For me, what this represents in my workings is very important. They
represent Gullveig s child Fenrir and their offspring, e.g. Hati and Skoll; Gullveig
leads them and they are enlightened by her: so am I, and they are very much con-
nected to her and she has accepted my claws as a means to communicate.

After my communication and receiving I prepare and start my Seta; to gain all
the understanding of what I have received this night. Then, I end my blot by giving
sacrifice and praise Gullveig for all that she has given me. This night I brought my
sacred bowl with red Gullveig-runes inscribed on it and I filled it with raw meat
which swam in blood, something the Old One fancies. Even the Old One s Jarn-
vidjur gather from the scent of fresh blood and meat, thirsting for its essence.

"Heil Gullveig! Heil Heidr! UeilAurboM"
"Heil Gullveig in vitralHeil Gullveig in aldnal"

Utiseta is a meditative techi
to connect with the divinilj
is also the OI term ndttscta,
according to the Thursanm
this form of invocatory m*
will probably disagree with
ticularly described as
to limit myself with predesl
I consider tradition highly ■
Gnostic Left Hand Path an
ments to form any praxis in
than a decade of experience
with this form of invocatoq
fulfillment.

In the line of Thursat
the underworld and ^
the invoked thursian
achieve understanding

I often use incense c
to the type of working I'm «
the incenses and connects
herbs and resin to get cerl
these oils I make myselfby
herbs and resin till I set
it gives a more pleasant
smoke tends to make
oxygen in your brain.
using incense on an
your meditation. How
as it lasts for a long
incenses are needed, so

192

Seta

she always comes and
ai and shows me that she
and studying Gullveig
ce, this could take an
Blotsp&nir, they are my
ate with Gullveig above
e wolf claws, for me
scout out what he is look-
these journeys as they
and they have devoured
Lr.^ : > very important. They
eg. Had and Skoll; Gullveig

Eir. :'.' are very much con-
o communicate.
>tart my Seta; to gain all
I end my bldt by giving
This night I brought my
I filled it with raw meat
Even the Old One s Jarn-
for its essence.

ana!'

Utiseta is a meditative technique that calls for a longer meditation out in the wild
to connect with the divinities and exchange power and hidden knowledge. There
is also the OI term ndttseta, night-sitting, which might fit better with the workings
according to the Thursatru tradition. But I just call this praxis Seta, sitting, as I use
this form of invocatory meditation both outside and inside during nights. Some
will probably disagree with this, as the known (modern) practice of Utiseta is par-
ticularly described as being performed outside in the wilderness. Well, I don t like
to limit myself with predestined boundaries, such as stasis in praxis - even though
I consider tradition highly important Instead I use the fundamental ideology of the
Gnostic Left Hand Path and thursian traditions with my personal lawless develop-
ments to form any praxis into the best adapt one for me - unrestrained. After more
than a decade of experience of ON praxis, I figure that as long as I reach the purpose
with this form of invocatory meditation I can adjust it to my individual practice and
fulfillment.

In the line of Thursatru the point with Seta is for example to reach the depths of
the underworld and grasp its knowledge, and/or during a ritual become one with
the invoked thursian power - it could also be used as an extensive meditation to
achieve understanding of previously received knowledge.

I often use incense during my Seta which I prepare and mix beforehand according
to the type of working I'm doing. After all these years of praxis my brain are used to
the incenses and connects its scents routinely with certain states. I use all kinds of
herbs and resin to get certain scents. For inside-workings I rather burn oils, and
these oils I make myself by mixing carrier oil (e.g. sweet almond oil), essential oils,
herbs and resin till I get the scent I want. I think oil is better for inside Seta because
it gives a more pleasant scent as you sit in front of it for a very long time, incense
smoke tends to make you a bit too dizzy after a longer while because of the lack of
oxygen in your brain, and you can get poisoned from it, too. Another bad thing with
using incense on an inside Seta is that you have to refill it often, and that distracts
your meditation. However, for outside Seta I always burn incense mixes on charcoal
as it lasts for a long time, and to avoid distractions as I sit outside heavier doses of
incenses are needed, so I always prepare 3-4 times of a batch.

193

Gullveigarb6k

Fetishes are very important to me, and they were very important in the ON
magic. I always have several different fetishes for every single thursian power that
I'm working with. All have their exact purpose. A fetish is an item that has been
worked with for a long time, interlinked and "inspirited" with certain chosen pow-
ers. These items I always bring to my Seta sessions of course, as it is their purpose
to work with you anytime and anywhere. Your fetishes are the links between your
Will and your spirit; your magical praxis and the thursian powers. I behold them as
my extended roots; which I have, by my controlled Will, descended into the under-
world and connected with whatever power or source I wish.

The last item I regularly bring to the Seta is my black wand. It is my black serpent
of power that stabilizes my black magical focus.

everything around meta
below. Icy mists surroun<
feel the presence of the rii
Then I powerfully thrust i
head digs deep down in
start to say my runic
meet my wand's head un<
biting and embradEg m,
arms covers with rune un
I stay there, in that sta
itually dive into die dark
scious and communicate

I have several places where I like to go and have my Seta and rituals; my two fa-
vorite places are one upon a mountain and one by a certain lake in the outskirts of
my town. A thirty minutes car-ride and I arrive at this deserted lake. The water is
absolutely still this cold night; it makes a perfect giant mirror, which reflects the
black mountains and trees. Thick and heavy mists stroll slowly around the lake and
between the trees, a sign that even colder weather is approaching due to the cloud-
less night sky. The darkness is bluish as the full moon's sharp light illuminates it, it
is something very magical with the blue darkness, and it reminds me of Hel's spirit,
Gullveig s deathly daughter. As my beard and fingertips start to freeze I make a fire
on a natural made shore by the lake; the shoreline is very narrow, perfect though
for a fire and room for me and my ritual belongings. The flames soon give me
warmth and the ground gives me cold, it has an odd effect upon me, something I
cannot experience inside a house. I always start by having a short and relaxing med-
itation, to calm down and to blend in with this rare nocturnal outside environment.
It takes time to get used to all the wilderness sounds, and at the same time I have to
get used to the awkward silence. Unusual, silence can be a distraction. After I feel
that I am one with the night I place out my ritual items, everything has its place and
I need it that way. I put the mortar in my knee and start to grind my gathered herbs
and resin with the pestle in my left hand into a rough mix to nice incense granules,
this night I used dried Mistletoe and Myrrh resin as a base. With the hand-made
spoon made of Yew-tree I put the incense mix on glowing charcoal with my left
hand and utter: "Heil Gullveig! Heil Heidr! Heil Aurboda!" I started to evoke the pow-
ers of Niflheimr with the help of Gullveig, and I can see with my inner eye how

194

re wery important in the ON
single thursian power that
rtish is an item that has been
r d wit! certain chosen pow-
Dorse, as it is their purpose
les are the links between your
sian powers. I behold them as
ID, descended into the under-
: I wish.

:k wand It is my black serpent

Seta

: : and rituals; my two fa-
pertain lake in the outskirts of
us deserted lake. The water is
nt mirror, which reflects the
dy around the lake and
ippr caching due to the cloud-
sfaarp light illuminates it, it
i it reminds me of Hels spirit,
:art to freeze I make a fire
i vers narrow, perfect though
gs. The flames soon give me
I effect upon me, something I
~. r. g a short and relaxing med-
onial outside environment.
id z at the same time I have to
n be a distraction. After I feel
|tcrythinghas its place and
to grind my gathered herbs
mix to nice incense granules,
a base. With the hand-made
lowing charcoal with my left
I started to evoke the pow-
d see with my inner eye how

everything around me freezes over and how darkness and ice springs up from the
below. Icy mists surround me and the area where I sit embraces me like darkness. I
feel the presence of the rime-thurses, and Gullveig nods at me with a content stature.
Then I powerfully thrust my black wand into the ground so that its poisonous snake-
head digs deep down in the black earth, at the same time I proclaim my will and
start to say my runic formulae in my head. The Nifl-powers are already alert and
meet my wand s head underground and grasp it as an ally. I mentally envision rime
biting and embracing my black wand like crystallized smoke, even my hands and
arms covers with rime until my wand and my body is covered by this Nifl-hue. Then
I stay there, in that state, just gazing into the rime-thursian abyss. Sometimes I spir-
itually dive into the dark void of the underworld and sometimes I stay semi-con-
scious and communicate with the powers.

195

GULLVEIG'S RUNES

This is a text which I har
focuses only on runes whi
are only for Gullveig, and i
runes belong to a trac

Within the thursian tn
called black, the runef
them. From a thursian p
communication and undi
nicating through the rum
adjective black in black ru
ml blood of the giant-nce
invades the cosmos
Hvergelmir with its elevc
the hidden knowledge or
the U]?ark rune-row allegi
inate from the primo
- the thursian giantess wl
entwined in the craft and

My understanding c
foundation in the anti-
This does not mean that I
I have embraced the thur
the Old lore and inventk
am very careful to n
/wrs-aspects and uphold

I have studied and
derstanding in the depth

GULLVEIGAR R0NAR

(JflttltvftAAA* ^Hm

GULLVEIG'S RUNES & THE BLACK RUNES

This is a text which I have complied along with my other book URAM, but this text
focuses only on runes which are related to the runic Gullveig- workings. Some runes
are only for Gullveig, and other are vital in any black thursian magical practice. These
runes belong to a tradition and should be treated thereafter.

Within the thursian tradition Thursatru, the runes with a thursian purpose are
called black, the runes came from the giants and their runic wisdom belongs to
them. From a thursian perspective the runes are black magical practical tools of
communication and understanding of hidden knowledge - the giants are commu-
nicating through the runes to you. This nightside knowledge is represented in the
adjective black in black runes. And this nightside knowledge comes from the wrath-
ful blood of the giant-race purs. The thursian race is the black current of Chaos which
invades the cosmos; symbolized as the black dragon with eleven heads, or
Hvergelmir with its eleven black heads. This anti-cosmic poison is an allegory for
the hidden knowledge or communication that the thursian powers bring through
the UJ>ark rune-row allegorized as black light. All runes of the UJ)ark rune- row orig-
inate from the primordial thurses; as a matter of fact they were created by Gullveig
- the thursian giantess who invented witchcraft and the runes. Her black essence is
entwined in the craft and the runes, as Ymir s black blood in the creation.

My understanding of the Uj?ark rune-row and the runic practical magic has its
foundation in the anti-cosmic Satanic tradition, and the Chaos-Gnostic tradition.
This does not mean that I have made up my own runes and meanings; it means that
I have embraced the thursian aspects of the runes and their magic, I have embraced
the Old lore and inventions, developed it with modern and personal expansion. I
am very careful to not neglect the Old lore and traditions; I rather sieve out the
jwrs-aspects and uphold it in my black thursian magic and tradition.

I have studied and worked with runes for many years now, and I have gained un-
derstanding in the depths of the runes by exploring them exoterically and esoteri-

197

Gullveigarb6k

cally. I pretty much read everything I can get my hands on when it comes to runes,
everything from Scandinavian history runology to modern rune-magic books. I
must say that old runological texts interest me the most, because of their undefiled
knowledge. They may hold a lot of scientific speculations and guesses because of
the runes' poor evidential history, but at least their authors do not make up fictional
groundless reports. Many modern texts and books are overlooked hypotheses made
up from "authors'" fantasies of a "lord of the rings" reality, which never existed. So
I can proudly say that I have based my rune-theories on credible sources from
known and respected runologists, scientists and authors, and from that I have
worked and experimented by myself with the rimes in magical and ritualistic praxis
for many years - forming a personal black magical svartriinsidr following the anti-
cosmic tradition.

To interpret the runes in an anti-cosmic way is not easy and it does not mean just
looking at rimes as some black magical tools. First, you have to have deep under-
standing in the anti-cosmic tradition and paths, and this is nothing you receive dur-
ing a month of reading some books, this takes years of eclectic praxis - lectita et

scribe, antiquum novumque. Secondly, you have to understand the runes. So this text
is my personal outcome from many years of understanding of the black side of the
runes and their thursian magic.

More detailed and compiled texts about the runes and their magic you will find
in my next book URAM in the chapters "Black Runes" and "Black Rune Mastery".

rtinir erpursum komumfyr niflhel nedan

The first and most impoi
Chaos), and it is a combii
sents the origin of the pri
u-rune is a rune reprefen
Krune which in thursian :
thing that the essence an
upon that it is the thursia
Ginnungagap or Chao
URAM for a more detail

ft holds both the asp<
verse power-current whi
cosmic power.

(Y represents the prim
inal essence of the j?urs-|

The (r bind-rune is a
practicing the black magi
Loki or Surtr workings
tion of the thursian wori
blot-area, preferably har
leadership. This mightv 1

198

GULLVEIGAR RUNAR

n when it comes to runes,
K>dern rune-magic books. I
because of their undefiled
ic-s and guesses because of
do not make up fictional
i coked hypotheses made
, which never existed. So
s on credible sources from
thors, and from that I have
zli~ : _. and ritualistic praxis
dr following the anti-

isv and it does not mean just

m have to have deep under-

: thing you receive dur-

:lectic praxis - lectita et

the runes. So this text

or the black side of the

tnd their magic you will find
"Black Rune Mastery".

tiRKAOS

The first and most important rune is a bind-rune which I call tJrkaos (primordial
Chaos), and it is a combination between the h-rune which in thursian magic repre-
sents the origin of the primordial powers or current of Ginnungagap or Chaos. The
u-rune is a rune representing origin and the original source. The second rune is the
Krune which in thursian magic holds all of the thursian power; which means every-
thing that the essence and race of thurs stand for (purs dtt). By now we can agree
upon that it is the thursian power which is the anti-cosmic current originating from
Ginnungagap or Chaos. I will investigate these two runes individually in my book
URAM for a more detailed understanding.

ft holds both the aspects of h and ^ and as a combination it represents the ad-
verse power-current which came out of Chaos and became anti-cosmic as an alien
cosmic power.

ft represents the primordial thursian current; the anti-cosmic current; the orig-
inal essence of the J>urs-powers.

The ft bind-rune is a central symbol which should be used in all that involves
practicing the black magical workings of the thursian powers, whether it's Gullveig,
Loki or Surtr workings. This bind-rune connects them all and is more of a founda-
tion of the thursian workings. It is used as a central talisman on the altar or in the
Wdf-area, preferably hanging or standing in the center as a symbol of honor and
leadership. This mighty bind-rune stands before the giants themselves.

199

Gullveigarb6k

&URSAKROSS

The powers of Chaos, which are represented by the anticlockwise movement,
will re-invoke everything to its origin: Ginnungagap - The Abyss - Chaos.

Another, as important rune, is the bind-rune which I call Pur-
sakross (the thurses' cross, or the thursian cross.) The Pursakross
has the thursian purpose of invoking the mighty powers of
Chaos, which are represented by the anticlockwise movement,
to re -invoke everything within the cosmos to its origin: Ginnun-
gagap - The Abyss - Chaos. Pursakross is the fundamental sym-
bol of the anfi-sunwheel, hence the four 5-runes which sitting on
the four reverse prunes which are representing the anticlockwise
movement. This is the black sun-wheel that goes backwards and
bringing everything back to its origin in Chaos. It is the symbol of Ragna Rok. The
bind-rune above (r* and $) is the Surtian Chaos-power Focus rune, a rune I use very often
too.

Within Pursakross you see the Krune: an important notation of the Krune is that
it holds within itself several important runes in analogy with the Pursatru belief: 1 )
the |-rune; belonging to Nifelheimr and its ruler Hel, and also the hrimgygr Gullveig,

2) the <-rune; belonging to Loki; and it represents the black light and gnosis, and

3) the J-rune; belonging to Muspellzheimr and its ruler Surtr.

The black point in the m
Chaos. The jaws or portal is
The Black Sun, and can s

Pursakross is also an ac
made from bind-runes, cal
Rok or the Day of Wrath.

THE FOCAL POINT C

Transcending in this con ten
ity of the cosmos. The Pie
which will lead your acosm
jaws of Ginnungagapi The
spins like a spiral more th-
circle; instead it is as lawk

In my Chaos-Gnostic b«
to the Urkaos, and its esa
acausal Muspell-flames a»
ened from the hylic slur
karma - 1 will now assidui
spiritually transcend back i
to aim my spiritual v. a rkrs
jective. So I uphold die sig
to Ginnungagap. That s *
the gaping chasm calle

As I stare with my mne
and icy - it turns slo
focus into its center - it
in my black flames; >ee.<:
mine; as I call for the croi
me; as I call for Chaos to

Pursakross correspond

Chaos, anti-cosmic gods,
the Old Norse religion, a

200

GULLVEIGAR RUNAR

The black point in the middle symbolizes Ginnungagap, the jaws to the acosmic
Chaos. The jaws or portal is also called The Eye of Lucifer, The Eye of Taniniver and
The Black Sun, and can signify the dark portal in the sigil of Azerate 1 .

Pursakross is also an active riingaldr, an evocatory sigil,
made from bind-runes, calling upon the hastening of Ragna
Rok or the Day of Wrath.

1 See Temple of the Black
Light, 2002, Liber Azerate.

THE FOCAL POINT OF TRANSCENDING

wdidodkwise movement,
f - 7k c Abyss - Chaos.

blnd-rune which I call Pur-
nrsaan cross.) The Pursakross
fL-T.z the mighty powers of
le anticlockwise movement,
Bsmos to its origin: Ginnun-
the fundamental sym-
Ibur prunes which sitting on
presenting the anticlockwise
lee! that goes backwards and
e lymbol of Ragna Rok. The
its rune, a rune I use very often

notation of the Krune is that
f with the Pursatru belief: l)
d also the hrimgygr Gullveig,
e black light and gnosis, and
Surtr.

Transcending in this context means to go beyond; beyond the boundaries and causal-
ity of the cosmos. The Pursakross as an anti-sunwheel is the focal point and sigil
which will lead your acosmic and black spiritual flame back through the black gaping
jaws of Ginnungagap. The Pursakross is the wheel that spins anticlockwise and it
spins like a spiral more than a circle, because its purpose is not limited as a closed
circle; instead it is as lawless and acausal as the pandimentional Chaos.

In my Chaos-Gnostic belief and spiritual workings I view my spirit is being linked
to the Crkaos, and its essence being acausal - as my spirit has been burnt by the
acausal Muspell-flames and bitten by the Nifl-ice; and by this enlightened and awak-
ened from the hylic slumber; and by so opened my pneumatic eyes. I have identified
karma - 1 will now assiduously strive to rise above karma - and from this, work to
spiritually transcend back into Chaos. With this Self-knowledge I have the advantage
to aim my spiritual workings and reach out to powers that can guide me to my ob-
jective. So I uphold the sigil Pursakross over my black altar and make it into a gateway
to Ginnungagap. That's what the black point in the center of the sigil represents:
the gaping chasm called Ginnungagap and Chaos.

As I stare with my inner eye upon the Pursakross I envision it to be black, flaming
and icy - it turns slowly and heavily anticlockwise in a spiral-way, absorbing my
focus into its center - its black hole. In my visions it looks like a gigantic axel pulling
in my black flames; seeking to connect its own overwhelming black flames with
mine; as I call for the crone to watch over me; as I call for the light-bringer to guide
me; as I call for Chaos to embrace my spirit.

Pursakross correspondences:

Chaos, anti-cosmic gods, thursian powers and their purposes, Satanic elements in
the Old Norse religion, all-devouring fire, incineration of all forms, carbonization,

201

GULLVEIGARBOK

volcanic power; outburst and destruction; black fire and flames, Surtr and Surtr s
sons, Surtr s burning sword of vengeance, Nicmoggr s purpose and entity, concen-
tration, discipline, self-control, fire-meditation, mental strength, unconquerable,
fight, perspicacity, unbreakable purposefulness, creativity, inventiveness, elitism,
total victory, Satanic triumph, superiority, earned honor, greediness, Satanic and
glorifying reward, respectability and dignity, unlimited wisdom - unlimited
strength. Gimsteinn: Lava Stones, Lignite, Hematite, Onyx, Obsidian and Blood-
stone.

Carve the Pursakross in stone, clay, bone or wood, paint on leather or
paper/parchment, paint with bodily fluids on your body. Blood shall fill the rune,
sperm or saliva if you wish it to be invisible.

For continuous inspi
As cosmic forces are all :
path, physically and spiritua
tools. Such as this stave .Am
make sure that no intrudin;
a protection, this is empow
represents your Satanic wil

If you chose to work wid
to it, to activate this stav

202

GULLVEIGAR RONAR

nd names, Surtr and Surtr s
purpose and entity, concen-
>tiength, unconquerable,
Nrity. inventiveness, elitism,
ior. greediness, Satanic and
uted wisdom - unlimited
Obsidian and Blood-

ANDAGIPT

': : i paint on leather or
-'•' Blood shall fill the rune,

For continuous inspiration in my workings I use this stave, which is called Andagipt
As cosmic forces are all around us and naturally go against our choice of sinister
path, physically and spiritually, I chose to always surround myself with strengthening
tools. Such as this stave Andagipt, the gift to your spirit; the stave which will always
make sine that no intruding force can defeat my dedication and loyalty. This is not
a protection, this is empowering of your Self and your black magical work. Andagipt
represents your Satanic will.

If you chose to work with this stave you need to come up with a fitting galdr song
to it, to activate this stave in your personal workings.

203

GULLVEIGARBOK

GULLVEIGIAN BIND

GAUMI

Gaumi is the bind-rune or the stave which helps you to keep focus on the enlight-
enment given from the Chaos-powers. I use this stave in most of my magical runic
workings, for example, to stabilize my focus on my aim and true ambition. Burn it
into the black skin which you throw your divination chips on, cut it into your mag-
ical wand and fill it with blood, carve it into your altar, draw it onto your left hand
before magical acts, embellish it into the leather pouch which holds black magical
herbs, fetishes and gems, etc.

If you chose to work with this stave you need to come up with a fitting galdr song
to it, to activate this stave in your personal workings.

The three bind-runes
can only be used with absol
will become destructive to
are energized with and
so it's crucial for ev«
Gullveig-worshippex tr.

They are all her maiiooi
her essence and purpose. 1
as her own essence as
cious and attacking -

All of these bind-i
blood, a crystal quartz or
charged poisonous wan.
carved, they should be car

204

GULLVEIGAR RUNAR

GULLVEIGIAN BIND-RUNES

The three bind-runes below are holy runes given as gifts to or from Gullveig and
can only be used with absolute dedication and respect. Used in the wrong way they
will become destructive to its user and they will become a curse! These bind-runes
are energized with and linked to her black wrathful essence and her blackest magic,
so it's crucial for everybody to not misuse these bind-runes in anyway. For the true
Gullveig-worshipper they are blessings - for the unfaithful a horrible curse.

focus on the enlight-
►st of my magical runic
true ambition. Burn it
on. cut it into your mag-
it onto your left hand
holds black magical

with a fitting galdr song

They are all her malicious seeds created in this world to invoke her and spread
her essence and purpose. The unnatural ways of these bind-runes are as unnatural
as her own essence as the thurs-werewolves' mother and inventor of magic: fero-
cious and attacking - beautiful and generous.

All of these bind-runes should be inscribed (with your left hand only) with ice,
blood, a crystal quartz or black Onyx. Magical tools for inscription should be a
charged poisonous wand, wolf-claw, icicle, or crystal quartz/black onyx-pointer. If
carved, they should be carved with your left hand into fitting material.

205

Gullveigarb6k

KEMIR

Kemir is a bind-rune which evokes Gullveig s Umitless knowledge and understand-
ing of the runes. This sigil has always been on my altar and I constantly keep it there
to help my spirit to be aided in the complex understandings of the runes' essence.

This is an alternative wai
out of |> and K helps your n
also guidance in the depth
clockwise to emphasize

206

GULLVEIGAR RUNAR

mowledge and understand-
nd I constantly keep it there
Sngs of the runes' essence.

This is an alternative way to use Kemir in UJ>ark rune-magic. The bind-rune made
out of r* and K helps your magical purpose to focus on the thursian aspects and it is
also guidance in the depths of the underworld. The U]park-runes are written anti-
clockwise to emphasize the will and path of Chaos.

207

GULLVEIGARBOK

LYKIL

Lykil is Loki within Gullveig.
Only Gullveig herself can explain its meaning and purpose.

Isarn is the bind-rune whi
and her thursian werew

208

GULLVEIGAR RtJNAR

fSARN

g and purpose.

tsarn is the bind-rune which evokes the current of Jarnvidr. It calls for the Old One
and her thursian werewolf breed.

209

Ill: Ljod

Hennar

JljZjnna?i

As darkness she came

Like a shadow out of shadows

a black crone with a black flame

Old, wise and all-seeing

She took the worlds in her grip,

prevailing against them as a rime-being

The ice-cold current then woke

And the gods knew
she would outlast fire and smoke

And spawned the serpent and the bane

And giants and wolves

and the gods knew they will be slain

Runes she brought from her own abyss

And the blackest magic

which no god dare to reminisce

All fear her as the Old mother

The Death which will embrace them

one after another

As the mother of the pale queen she came

Three in number - cold in essence

Unleasher of the untame

Anger she loves - squirming unlight
Like earth she consume and like space she is

Cunning and bright

213

■V

Gullveigarb6k

Her magic is the keeper of the grave-worm
Abysmal - dark - death-striking

Ironfirm

Black moon water colors her dress

Pockets that hold an ocean

Depthless

An j

Under mans foundation she dwells supplicJ* ti

Seering - striving - reflecting
Underneath the wells

Do you know the crystal cave?

Where the seed of three spirits live

The mother stave

Do you know the hidden iron gate?

Unnatural dimensions rule behind it

Rime and hate

Of her name do not ask me

"Ages of Wolves" they call her

I call her SHE

214

Ybl6trunaz

'mok

tina$

ndit

An anti-cosmic traditional rungaldr to
supplicate the Yew tree, its spirits and the IhwaR-rune.

yr - ihwaR:

grd med Helju:

ek hylli anda fs ok herulfa:

yr - IhwaR:

gro med eitri:

ek hylli anda ft okpursulfa:

fr - IhwaR:

grd med myrkri:

ek hylli andays ok heidulfa:

gro i Gullveigar nafni
gro free Hyrrokinjar:

yr - ihwaR:

yandar ek kalla:

ek heitiys anda at mala mer satt

ok at leida mik i myrkri ok runum:

fr- ihwaR:
yandar ek kalla:

grd i Gullveigar nafni
gro free Hyrrokinjar:

*jr - ihwaR:
ek hylli helulfar:
ek hylli heidulfar:

215

Gullveigarb6k

Heldrasill:

ekvirdipik:

ekfornaper blodi:

yr - ihwaR:

Idt drekann med elliju hefud

frd Utgardifida pik:

E-.i

let I

Ami

216

The Old Will Climb

<^(W <Sb ^k?%11 ctwt

In tfie sinister night I call

Under the obsidian star

And with my myrrh resin I color the air

In your shadowy name

Black wax carries my blessed torch

Flames of a falcon-spine wander in my thoughts

I see the companion luring grimly

Eyes of a predator thrust me like a spear

But it gives me joy, not wounds

And there, tall and black she rose

Ice holds the moment with us in darkness

Sharing, showing, taking

And she moves, like an old tree in the wind

As her hands are of black icicles

As her hair is long and of black ice

Her face picks me up like a mother her child

Into a caress of the deepest shadow

And she speaks with runes of iron

Burning into my spirit

The great snake shall now come

Black within and like you without

Poison is frozen in its form

And Will is manifested upon my grip

Thrust it into the underworlds she said

And the old will climb

217

GrAnautr

MnAnAubi

Hungry he bays as he hunts in the sky

The unnatural entity from a land of shadows

Drooling like a rain-storm without a sky

The one with dried blood on his fur, reeking

Chasing the black swaying in the cold black sky

It's an unconquerable game with a predestined end

Mother, don t your children gather there?

Mother, isn't that your abode?

Black, lonely, blocker of the round fire

Cold, haunting, keeper of the threshold of worlds

He has been hunting it as an infant

He has been hunting it as the mighty horn

He has been hunting it as the shady eye

Snapping, growling, crying

Crying like winds caressing the shaded crowns of trees

Sadness I hear - victory I seer
O' mother of darkness, enlighten me as your grey and unleashed companion

219

Ama

^W4

Hail, hail, hail!

Gullveig; first-born mother

Bringer of adverse power

Queen-Giantess of darkness

Hail, hail, hail!

Heidr; second-horn crone

Bringer of sinister dreams

Women's true luster

Hail, hail, hail!

Aurboda; third-born maid

Bringer of ascending seeds

Eclipse of the cosmic sun

Blackness I call your throne

The gaping space in Chaos

From where you shine through all worlds

Robes I witness flutter
As you rise like an icy night sky
With your wand like Chaos' axis

Queen of the wrathful giants

Below, upon and in the middle

Mother of the deathly race

Sallow earth you trample

And blacken it with your breath

Wordless darkness begets

221

Gullveigarb6k

To man you came as a crone

Proud in vigorous spirit

With light from the world below

As Queen over abysmal lands

And Queen over man and woman;

Queen-witch over the essence of magic

As two you first came
Sootless darkness and pure light
The ocean, the soil, and the below

As three you came before the powers

As a wintry cloud of bewilderment

Dominant, prevailing, and cruel

Blackness lick the soil of heaven
Terrible shadows pound on its walls
The first time you eclipsed its room

Wholesome like from the chasm you came

Unfolding like the infinite rebound

Dynamic as the fertile jaws

Keeper of the first race

Mother of its line

Queen-giantess

Source of the blackest poison

Holder of the fate

Key to the rim

Maid, mother, crone
Three in all aspects

222

Skassleikr

1$u*$rA*&t

■t;

ame

The giants stood dark

Deep in the valley

Still as January snow

Silence

Cold

I looked around

Old paths crossed my view

And a rabbits left paw came

Triggered the witch

And she came as the crone

Black and frightening

Numerous links ran around her spine

Around and around

She spun like a wolf

But the black stretched out

Like spikes

Like icicles

Like iron rods

Darker she grew

Lighter I grew

She envisioned for us both

The vortex is the wand

The wand is the spine

And the spine holds the links

Like iron-talons they swept

Around like dead and falling leaves

But the spine is everlasting

Like a spiral in the abyss

223

GULLVEIGARBOK

And him
Swept the valley like a shadow

And she spun

Happy and alluring

The runes danced in the bats' field

Amulets she said

Are the floating good

In my dance and gaze

Gaze and incantation

Incantation and thirst

Thirst and hunger

Hunger, hunger

You shall collect

Manifold is better

Let them embrace your neck

Like a scarf in the cold

Touchingyour breast

Like my long hair

Burning intense

Glowing in knowledge

My word in one rune

Shall make you descend

In my home blend

In my house stay

With my hound bay

In my heart dwell

Me and Hel

I do it for you

Look at me

Bare

Wanting

Hungry

Spinning

Snapping

Biting

Teaching

224

Skassleikr

Taking

Giving

Embracing

Lusting

..:

I do it for you

Look at me

Bare black

Crone-dance

Black spike wheel

Confusing

Pulling

Fulfilling

the charm

Creating

the

deformed

desire

225

Appendix

^wsjh^ut

I do not include all worlds in the ON cosmology of the mythology in this chart,
as they are not relevant in this book.

•The darker outer part of the illustration is Chaos/Kaos, I have written it anti-
clockwise because of its opposite nature towards the cosmos.

•N, E, S, W stands for the cardinal points; North, East ...

•The world tree and its worlds he within the cosmos/Allheimr, I have shaped it
as an egg, please do the same. The cosmos is surrounded by Chaos.

•The world tree is a Yew tree; please look up Yew tree on the net to get a good
understanding of its shape, I like the world tree to look like a Yew tree. I will add a
picture of a Yew tree that I like.

•AsgarcJr lies in the crown of the Yew tree.

•MidgarcJr lies on the Yew tree s trunk.

•The "upper" Jotunheimr lies to the north of/in Midgaror, above the underworld.
It has a gateway down to the underworld.

•The underworld starts at the roots of the Yew tree. Mark the border with a hor-
izontal line.

•To the North lies Jotunheimr, I like the form to be like an egg or a testicle. On
top of Jotunheimr lies first well of wisdom; Mimisbrunnr, and the first Yew tree root
leads to it. Under Jotunheimr to the East/North lies JarnvicJr.

•To the South lies Helheimr, I like the form to be like an egg or a testicle. On top
of Helheimr lie another well of wisdom; Ur8arbrunnr, and the third Yew tree root
leads to it.

227

GULLVEIGARBOK

•Below these two underworldly worlds lies Ginnungagap, the black portal out
to Chaos. Ginnungagap, Niflheimr and Muspellzheimr all lie in Chaos; that's why
Tve put them on the border between Chaos and the underworld.

•Niflheimr lies on the North side of Ginnungagap, Niflheimr is the world of ice
and mists. And in Niflheimr the last well of wisdom lies; Hvergelmir, and the second
Yew tree root leads to it And on the outer rim of Hvergelmir lies the "sea-shore"
called filivagar, and from Elivagar runs 1 1 rivers which are spreading throughout
the underworld, feeding Jotunheimr, Helheimr, the roots etc with their poisonous
waters.

•Muspellzheimr lies on the South side of Ginnungagap, Muspellzheimr is the
world of flames.

228

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A SUMMARY

1. Chaos is all, and within Chaos the cosmos lies like an egg.

2. The cosmos holds the world tree and its worlds.

3. The upper worlds are: a) Asgardr, b) MidgarcJr, and c) "upper" Jotunheimr.

4. The underworld includes: a) Jotunheimr, and b) Helheimr.

5. Jarnvidr (ironwood) is a region in the east/north of Jotunheimr where Gullveig
(and Fenrir) has her abode under the name Angrboda.

6. The three roots lead to the three wells of wisdom: l) Mimisbrunnr, 2) UrcJar-
brunnr, and 3) Hvergelmir.

7. £livagar is a sea- shore at Hvergelmir where 1 1 rivers of Hvergelmir s icy water
run out.

8. The worlds in Chaos are Niflheimr and Muspellsheimr. They both lie on each
side of Ginnungagap.

Note: the upper world, hence the tree-crown, starts to wither as the poisonous
underworld water feeds its roots.

231

Appendix

A simple illustration of how Chaos' acosmic current invades the cosmos and transforms

into being anti-cosmic

232

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