A slim little wound-bee, who could know
This thorn of tree’s leech could be so fell
That its sting would bring Oðinsson low?

Fjörgynn’s Daughter believed she’d planned well,
But Wolf’s Father with wiles of his own
Helped Baldr to the cold bed of Hel.

More deadly this twig than a stone,
Cut by a small and sharp knife,
And on branch of oak had it grown.

Robbed Baldr of joy and of life,
In a story we all know so well,
Broke the heart of Nanna his wife

And sent the belovèd to Hel,
To the arms of the Queen of the dead,
There in her presence to dwell.

© 2005 Sorn Skald (stanzas 1-4), Patricia aka Adastra (stanzas 5-7)

Theories, Speculation, UPG, and Modern Worship

Alternate Versions of Baldr’s Death:
Though Snorri’s account with blind Hoðr being tricked by Loki into hurling the fatal mistletoe at Baldr is the most widely-known version of the death of Baldr, Saxo Grammaticus tells a different story in Book 3 of the Gesta Danorum. In Saxo’s version, Balderus and Hotherus fight each other for Nanna and kingship. Though Balderus is a demigod, the son of Oðin, Hotherus is a normal mortal human; the two clash in a number of battles before Hotherus is finally able to fatally wound Balderus with the aid of a magical sword (owned by a satyr named Miming), an enchanted belt of victory, and special food prepared by mysterious forest maidens. Balderus lingers for three days before dying, and during this time dreams he is visited by Prosperine, who promises him her love. After his death, thieves attempt to break into his mound but are stopped by a wall of water. Since there is no mention of Loki in this version, Lokeans often prefer it to the story told in the Prose Edda.

Building off Saxo’s account and the fact that Hoðr’s name is often used in kennings for “warrior,” Rydberg suggested another alternate version of the story. Rydberg believed Baldr and Hoðr were a version of Castor and Pollux or the Alcis, adventuring warrior brothers. Hoðr was not literally blind but was deceived by Loki into killing Baldr; Snorri’s depiction of Hoðr as blind was a misunderstanding of a pictorial representation of Hoðr with closed eyes, Loki guiding his arm. While Rydberg’s interpretations are often not well-regarded by modern scholars of Norse mythology, his work is often presented on various websites about the gods.

In Beowulf, as Beowulf prepares to fight the dragon and reflects on his life near the end of the poem, he recalls the death of Herebeald, one of the sons of Hreðel, Beowulf’s grandfather and foster-father; this incident may be influenced by the Baldr story. Hæthcyn accidentally slew his older brother, Herebeald, with an stray arrow while hunting. The tragedy of the event is compounded by the code of vengeance requiring Hreðel to seek vengeance against his own son. The poet compares Hreðel’s grief to that of a man whose son is on the gallows, a grief so great that it ultimately kills Hreðel before he takes action against Hæthcyn. Detter even went so far as to suggest that line 2439, “miste mercelses ond his mæg ofscet” (he missed his mark and shot his sibling) is a corruption of “*misteltane his mæg ofscet” (he shot his sibling with the mistletoe). Even if the story is not somehow related to Baldr’s death, the difficulties presented by the need for blood vengeance that lead to Oðin’s quest to produce a son with Rindr specifically to avenge Baldr are displayed in Beowulf as well.

Bracteates:

B-Bracteate found near Kalisz, Poland

Karl Hauck identified a number of bracteates (flat pieces of metal, like very thin coins, often worn as jewelry) he believes represented myths involving Baldr. These were primarily B-bracteates, meaning that they display one or more human figures, and C-bracteates, meaning that they display a male’s head (often believed to be Oðin’s) above a quadruped, usually a horse. The B-bracteates show three figures, often in a sort of enclosure. The central figure, whom Hauck believes to be Baldr, holds a ring, perhaps Draupnir. Behind this figure is a man with a spear, whom Hauck identifies as Oðin, while facing him is a winged

C-Bracteate, also found near Kalisz, Poland

man in a skirt and wielding a twig; according to Hauck, the winged man is Loki. Some of these bracteates have one or more birds overhead and fish beneath; Hauck interprets the birds as either Oðin’s ravens or valkyries, while the fish are representative of the Underworld.

The C-type bracteates that Hauck identified appear to show a horse with a bent foreleg and a male head floating above the horse; he believes they illustrate the story told in the Second Merseburg Charm.

Etymology of the Name:
The name Baldr may come from OE bealdor, “lord,” possibly related to ON baldr or OHG bald, “bold, brave.” Schroder (cited in Simek) argues for a reconstructed Indo-European *bal-ora-m, “power,” while Grimm thinks a reconstructed Proto-Germanic
*bhel, “white, good” possible.

Lemminkäinen:
The Finnish god Lemminkäinen may be connected to Baldr. Though in Lonnrot’s Kalevala, Lemminkäinen is a sort of swashbuckling, romantic character ultimately killed by drowning, the figure of the god who appears in the different versions of the Lemminkäisen Virsi (Lemminkäinen’s song) is a little different. Lemminkäinen is a sort of warrior fertility god not unlike Freyr, associated with agriculture and growth. At a feast for the gods, he sings boons for the guests, but he accidentally neglects to sing for a blind man; the blind man hurls a hemlock dart at Lemminkäinen, killing him. Afterwards, Lemminkäinen’s body is placed in a river, from which it is later recovered, piece by piece, by Lemminkäinen’s mother. She sews the pieces back together and persuades a bee to travel to the halls of Ukko to recover a drop of divine honey; with this honey, she is able to finally restore Lemminkäinen to life.

Midsummer:
One of the oldest interpretations of Baldr and Hoðr is that they are gods of light/summer and darkness/winter, respectively. A related interpretation is that Baldr is a solar sky god, while Hoðr is an Underworld power; from a fertility perspective, Baldr provides light and rain, while Hoðr is the soil, and their rivalry for Nanna reflects this overlap in their functions. Baldr’s ship, Hringhorni (“Ship with a ring on its stem”), is read in this interpretation as a solar symbol. Grimm and Frazer speculate that Midsummer bonfires may have originally been intended to represent Baldr’s funeral; the summer solstice marks the beginning of the end of the sun’s reign and the gradual darkening of the sky.

For many modern Heathens, likely working off such theories, Midsummer is Baldr’s chief festival. They celebrate the death/sacrifice of Baldr and anticipate his rebirth out of Hel at Yule (when for some, the hanging of mistletoe represents remembrance of Baldr). Baldr’s death demonstrates for Heathens the mortality of the gods, his funeral and reception in Hel show one of the aspects of the afterlife, and his final return symbolizes the possibility of some sort of rebirth or living on for humans. One of the most frequent requests I get regarding my poetry is permission to use “Mistletoe,” a piece of terza rima I composed with a person on Beliefnet going by the name Patricia, in people’s Midsummer celebrations.

Mistletoe:
Because mistletoe is a rather flimsy plant, unsuitable for use as a weapon, and because it is found only in isolated areas in Scandinavia (and not normally in Iceland at all), the instrument of Baldr’s death in Snorri’s version has caused quite a bit of controversy and discussion. While some have simply assumed that Snorri and the poet of Voluspa had a poor understanding of what mistletoe actually was, perhaps believing it a tree or similar plant, others have come up with more elaborate theories. Krohn (cited in Liberman 27) believed the myth originated in England. Liberman argues that Baldr was originally killed with a different plant, such as a reed or thistle. The mistletoe may have come into the story as a result of its similarity with the word mist, as in a curtain of mist separating the human world from the Otherworld, or as in the valkyrie Mistr; alternately, it may have replaced the reed or thistle because it was foreign and sounded like a sword kenning, making it an appealing name for a lethally used plant.

Many, such as Rydberg, have sought to replace the plant with a sword called Mistlteinn. Others, like Kabell, suggested that the mistilteinn in Voluspa represents Hoðr, and Snorri misunderstood the heiti.

Place Names:
Baldr appears to have a few places named after him, mostly in Scandinavia. Most of his place names seem to be in Norway, where his name is usually attached to natural features like -berg (rock, mountain), -fjorðr (fjord), and -vik (bay). In Iceland, there are two identically named places, Baldursheimur (Baldr’s home), and there is a boulder named “Baldr,” as well. In Sweden, he seems to be mainly associated with hills and mountains, as in Baldersberg. Saxo says there is a port and a spring named for him; Davidson suggests these may be Balsness (which in 1342 was recorded as Baldersnes, “Baldr’s Island”) in Norway and Baldersbronde (Baldr’s spring) in Denmark, respectively. Also, Danish places such as Bollesager (Baldr’s field), Bolleshowe (Baldr’s howe), and Bolderstoft (Baldr’s enclosure) in Denmark may be named for him.

The Sacrificed God:
Individuals such as Detter and Gundarsson believe that Baldr’s death was originally an Oðinic sacrifice, with the mistletoe’s deadly qualities mirroring events such as Starkaðr’s accidental sacrifice of King Vikarr; Kauffmann (cited in Lieberman 37) suggests that Baldr was sacrificed to Loki, but that Oðin’s spear was originally used. Gundarsson supports Hauck’s bracteate interpretations, seeing in them evidence for Oðin as the primary motivator in Baldr’s death, and suggests that the enclosure on some of the bracteates, which may be the griðastaðr that prevents the gods from taking vengeance for the killing in Snorri’s version, is a sort of ve or hof in which the sacrifice takes place. Though the Dream of the Rood is usually read as a Germanic interpretation of the death of Jesus, a sort of reconciliation between the Germanic heroic ideal and the story of a meek god willingly going to his death combined with an examination of Jesus’s dual nature as god and man, Gundarsson sees it as borrowing heavily from the story of Baldr’s sacrifice at his father’s instigation. He points to the wounding with arrows, the weeping of the entire world, and the invocation of Wyrd to talk about Jesus’s doom as elements taken from Baldr’s death. He further argues that in Husdrapa, the phrase “heilgar tafn,” “holy offering,” refers not to Baldr’s funeral feast but to Baldr himself, and that since elsewhere in skaldic poetry, tafn is used to speak of sacrifices made to Oðin, Baldr’s death is ultimately by Oðin, to Oðin.

Dronke makes a similar argument in her commentary to her translation of Voluspa. In Stanza 31 he begins as “bloðgom tivur,” the bloodstained sacrifice, and becomes identified with the mistletoe that slays him, full-grown, slender, and fair. In the next stanza, the mistletoe is transformed from something seemingly insignificant into “a shaft of anguish, perilous,” not unlike Starkaðr’s ultimately fatal reed (32). The evergreen mistletoe and Baldr become one, capable of surviving in some fashion the winter of the world, and just as men may sacrifice during the winter for renewal of growth, so is Baldr sacrificed for the renewal of the world after Ragnarok.

Lokeans, when not eagerly embracing the Gesta Danorum version of Baldr’s death, will often argue that Loki needed to bring about Baldr’s death so Baldr could go to Hel and thus survive the Ragnarok. Thus, Loki heroically sacrifices not only Baldr but also his own honor and freedom (and, during the Ragnarok, his life) to help insure that life will return to the world after the battle.

Conversely, modern Heathen musician Hauk suggests in his song “Lamentation” that, rather than Baldr’s death being necessary for him to survive the Ragnarok, the Ragnarok is necessary for Baldr to return. He presents Oðin as being willing to see the worlds destroyed in order to create a new, better world, one in which his son has risen again.

The Second Merseburg Charm:

The Merseburg Charms were written ca. 900 AD and stored in the library of the cathedral in Merseburg, Germany. While scholars since the Grimms have interpreted Phol as another name for Baldr, Simek instead argues that Phol should be seen as connected to Volla (perhaps Fulla, handmaiden of Frigg), and the two are divine siblings like Frey and Freyja, perhaps even identical to the children of Njord (256). Other possibilities include that Baldr’s name in this poem simply means “lord” and should be read as referring to Wodan or a human lord, or that Phol refers to the horse that is lamed (Stellar, cited in Simek). Gundarsson suggests “the stumbling of Balder’s horse on the way to the wood (presumably, to the holy stead within a grove) was a sign of his coming death” (243). Blottner and Pfennig, on the other hand, see the story presented in the charm as being one in which the masculine power of a fertility god (represented by the horse) is weakened, requiring combined male and female powers to return balance to nature.

Vegetation God:
Much of The Golden Bough is devoted to Baldr and his death. Frazer argues that Baldr is a sort of incarnation of the oak tree, which Frazer says was widely worshiped by pre-conversion Europeans. According to him, mistletoe growing on the oak, green even in winter, was thought to be the life of the oak, and the mistletoe had to be removed before the oak could be made fully vulnerable, chopped down, and fed to sacred fires; this ritual was either poorly remembered in the myth of Baldr’s death, or the myth was recited as a justification for the actions taken. Frazer believes that Midsummer bonfires are echoes of Baldr’s funeral pyre, and that originally humans or effigies representing Baldr were burned on the bonfires. Frazer’s ideas remain influential for those who prefer to see the myths as reflecting seasonal changes and the cycle of life; Baldr, the dying god who returns after the Ragnarok, is interpreted as a representative of the seeming death of plants in autumn and their later blooming again in spring.

Personal Worship and UPG:
Baldr is a power I worship infrequently. However, I often use the phrase “Baldr’s Blood!” as a curse when I’m unhappy about something. The spilling of Baldr’s blood is indeed a tragedy. After the death of Baldr, the gods are severely weakened and often fail at their tasks; order breaks down. Hermoðr fails to return from Hel with Baldr, Thokk confounds the attempt to get the entire world to weep, the Æsir are unable to launch Baldr’s ship without the help of the giantess Hyrrokkin (whom I see as probably Baldr’s fylgja), Oðin’s men cannot hold Hyrrokkin’s steed, and the Ragnarok becomes inevitable. The death of Baldr isn’t the gods’ first loss, but it is their first irreversible loss. Thor’s not going to come crashing in, defying rules of hospitality to restore order; there isn’t going to be a journey to the homes of dwarves or giants to get treasures to replace what was lost. Loki, who so often helps fix the problems he creates, cannot undo what has been done this time. Baldr’s death is the beginning of the unstoppable slide into the end of things, and all truly should weep.

References:
Bursche, A. “Germanic Gold Bracteates from the Hoard in Zagorzyn near Kalisz” http://www.archeo.uw.edu.pl/zalaczniki/upload801.pdf Accessed March 2013.

Davidson, H.R. Ellis. (1964) Gods and Myths of Northern Europe.

Detter, F. (1894) Der Baldrmythus.

Frazer, J. (1922) The Golden Bough.

“Germanic Mantra” http://www.germanischesmantra.de/40057.html Accessed March 2013.

Grimm, J. (2004) Teutonic Mythology Volume 1. Translated by James Stallybrass.

Gundarsson, K. et al.  (2006) Our Troth 2nd Edition Volume 1: History and Lore.

“Have you Accepted Lemminkäinen as Your Lord and Savior?”  http://www.forgingthesampo.com/2013/03/31/have-you-accepted-lemminkainen/ Accessed April 2013.

Kabel, A. (1965) Balder und die Mistel.

“Lamentation” http://haukmusic.com/trumpets.htm#Lamentation Accessed March 2013.

Liberman, A. “Some Controversial Aspects of the Myth of Baldr” http://userpage.fu-berlin.de/alvismal/11baldr.pdf Accessed April 2013

“Merseburg Incantations.” http://www.pitt.edu/~dash/merseburg.html Accessed April 2013.

“The Myth of Baldr” http://www.haxton.org/Baldr.htm Accessed April 2013.

“Pagan and Supranormal Elements in Scandinavian Place-Names” http://germanic.zxq.net/heathenplace1.html Accessed April 2013.

Rydberg, V.  (2003) Our Fathers’ Godsaga Retold for the Young. Translated by William Reaves.

—. (2004) Investigations into Germanic Mythology Volume 2 Part 2: Germanic Mythology. Translated and annotated by William Reaves.

—. (2007) Investigations into Germanic Mythology Volume 2 Part 1: Indo-European Mythology. Translated and annotated by William Reaves.

Simek, R. (1993) Dictionary of Northern Mythology. Translated by Angela Hall.

“Taivaannaula – Finnish Paganism” http://www.taivaannaula.org/finnish_paganism.php Accessed April 2013.

The poem appears in its entirety in Codex Regius, and most of it (1-27) can also be found in AM 748 I 4to (a fragmentary manuscript from ca. 1300 best known for having the only extant text of Baldrs draumar). It is in the second manuscript that the poem is called Skirnismal; in Codex Regius, it is called For Skirnis (Skirnir’s Journey).


A Burning Ring of Fire:
Apart from Gerð’s refusal, the wall of fire surrounding Gerð’s estate is perhaps Skirnir’s greatest obstacle. Skirnir asks for Freyr’s horse, capable of traveling past the flame, and the flame is the only obstacle that Gerð mentions when greeting Skirnir. Similar obstacles confront Svipdag and Sigurd; in Svipdag’s case, there are also ferocious dogs, while in Sigurd’s case, a special horse may make it past the flames.

In “Art and Tradition in Skirnismal,” Dronke argues that a wall of fire is a traditional barrier to the Underworld. Pointing to parallels in Celtic and Egyptian solar myths, she sees Skirnir’s passing through the wall of fire as a myth for “Freyr, the solar deity, whose shining messenger penetrates Iotunheimr, Underworld of the dead” (265). The myth as preserved in Skirnismal is thus both “a wooing and a release of new life from the world of the dead, whose enclosure is traditionally of flame” (267).

Skirnir’s Curse:
Supporters of Dumezil’s tripartite theory, such as Nasstrom, see reflections of each of the three functions in Skirnir’s attempts to win Gerð for Freyr. The eleven golden apples (possibly, apples of everlasting youth) and the ring that drops eight new rings every ninth night (probably Draupnir) represent the third function, that of agriculture and wealth-generation. The threat of the sword represents the second function, that of warfare. The final curse represents the first function, that of magical-priestly sovereignty.

Orchard believes Skirnir’s threat to Gerð in Stanza 35, that she will be under the roots of a tree, is a common “punishment for women of doubtful reputation” (287). He cites similar imagery found in Voluspa for the Norns, Grimnismal for Hel, Helgakviða Hjorvarðssonar for Hrimgerð, and the Flateyjarbok version of Helreið Brynhildar for Brynhild.

Dronke in “Art and Tradition in Skirnismal” discusses some similar curses in the Brhadaranyaka Upanishad and the Atharva Veda. In the first, a hieros gamos is described in which the male approaches the female and first offers a blessing. If she does not yield, he then offers her presents. If she refuses the presents, he touches her with a rod and says “I by my power and my glory take thy glory to myself.” The woman is then shamed, but if she relents, then he can undo the curse, and “the two become glorious” (259). In the second, the set up is much the same, but the curse is more elaborate. The female is banned from marriage in normal society and is instead doomed to be a concubine to Yama, a god of death. She will have no joy in love and will have her generative organs sealed. This curse, like the first, can be lifted, providing “issue and wealth” (259). Dronke further speculates on a relationship between Skirnir’s curse and the curse Oðin carves on bark for Rind in Gesta Danorum when Oðin is trying to win the unwilling mother of Baldr’s avenger, believing Skirnir’s use of the gambanteinn and use of runic magic may have been influenced by portrayals of the Valfather (267). In her commentary to Skirnismal in her translation of the Poetic Edda, Dronke also demonstrates the similarity of Skirnir’s curse to different Greek and Roman love spells that create a sort of frenzied desire in the subject and seek to deny any satisfaction to the subject until she submits to the caster’s desire. In particular, she argues for a link with a love spell that appears in a fourteenth century curse (399):

There may also be a connection between the characters Skirnir says he will carve in Stanza 36 and the third stanza of the Icelandic Rune Poem:

Most of the poem is composed in ljoðahattr (chant or song meter), but during Skirnir’s curse, the meter often shifts to galdralag (incantation or magic song meter, also called kviðuhattr or galdrahattr).

Ljoðahattr is most commonly rendered in stanzas of six lines, though some editors choose to make four-line stanzas. Ljoðahattr stanzas with six lines can be broken into two three-line parts. The first two lines have two to three alliterations and four stresses; these lines are followed by a line with two alliterations and three stresses.

In an ideal four line stanza, the odd-numbered lines have a cæsura in the middle and contain alliterative verse with four stresses and two or three alliterations. The even-numbered lines contain three stresses and two alliterations, and there is no cæsura.

Galdralag is usually created by adding a short extra line with three stresses to a ljoðahattr stanza; ideally, the extra line should parallel the previous line but not be anticipated by the earlier lines in the stanza. Because galdralag reads like ljoðahattr up until the extra line, the extra line comes as something of a surprise to the audience, creating a bit of extra power for the stanza. Occasionally, as with Oðin’s attempt at using galdralag against Loki in Lokasenna or as Skirnir’s curse develops in Skirnismal, more lines may be added to the galdralag for additional emphasis.

References:
Acker, P. et al. (2002) The Poetic Edda: Essays on Old Norse Mythology.

Dronke, U. (1996) Myth and Fiction in Early Norse Lands.

Nasstrom, B. (2003) Freyja, the Great Goddess of the North.

Page, R. (1999) The Icelandic Rune Poem.

The Poetic Edda. (1936) Translated with commentary by Henry Bellows.

—. (1962) Translated with commentary by Lee M. Hollander.

—. (1996) Translated with commentary by Carolyne Larrington.

—. (2011). Translated with commentary by Andy Orchard.

The Poetic Edda: Volume II: Mythological Poems. (1997) Edited with Translation, Introduction, and Commentary by Ursula Dronke.

Literature:
(Compiled primarily from Arlea Anshutz’s Skadhi Page at   http://www.wyrdwords.vispa.com/goddesses/skadhi/index.html

Skaldskaparmal 3
Skadi, daughter of giant Thiassi, took helmet and mail-coat and all weapons of war and went to Asgard to avenge her father. But the Æsir offered her atonement and compensation, the first item of which was to choose herself a husband out of the Æsir and choose by the feet and see nothing else of them. Then she saw one person’s feet that were exceptionally beautiful and said:

‘I choose that one; there can be little that is ugly about Baldr.’ But it was Niord of Noatun.

It was also in the terms of her settlement that the Æsir were to do something that she thought they would not be able to do, that was to make her laugh. Then Loki did as follows: he tied a cord round the beard of a certain nanny-goat and the other end round his testicles, and they drew each other back and forth and both squealed loudly. Then Loki let himself drop into Skadi’s lap, and she laughed. Then the atonement with her on the part of the Æsir was complete.

It is said that Odin, as compensation for her, did this: he took Thiassi’s eyes and threw them up into the sky and out of them made two stars.  (Faulkes trans)

Gylfaginning 25
Niord has a wife called Skadi, daughter of the giant Thiassi. Skadi wants to have the home her father had– this is in some mountains, a place called Thrymheim –but Niord wants to be near the sea. They agreed on this, that they should stay nine nights in Thrymheim and then an alternate nine at Noatun. But when Niord came back to Noatun from the mountain he said this:

‘I hate mountains–not long was I there, just nine nights: wolves’ howling I thought ugly compared with the swans’ song.’

Then Skadi said this:

‘I could not sleep on the sea’s beds for the birds’ screaming; he wakes me who comes from the sea every morning, that gull.’

Then Skadi went up into the mountain and lived in Thrymheim and generally travels on skis and carries a bow and shoots game. She is called ski-deity or ski-lady. (Faulkes trans)

Grimnismal 11

Hyndluljoð 30

Skirnismal prose opening and stanza 1

Lokasenna 49-52 and prose ending

Heimskringla: Ynglings Saga Chapter 8
“Njorth married a woman who was called Skathi. She would not have intercourse with him, and later married Othin. They had many sons. One of them was called Saeming. About him, Eyvind Skaldaspillir composed these verses:

That scion
his sire gat, of
Æsir’s kin
with etin maid,
the time that
this fair maiden,
Skathi hight,
the skalds’ friend had.

…of sea-bones
and sons many
the ski-goddess
gat with Othin.” (Hollander trans.)

Theories, Speculation, UPG, and Modern Worship
Her Name:
The name “Skaði” is usually interpreted as “shadow” (as in OE sceadu and OHG scato) or “damage, scathe” (as in ON skaði ). Her name is a masculine one. Together with the story of her choosing Njord as husband, it has prompted a number of scholars (such as de Vries, Nasstrom, and Schroder, among others) to speculate that at some point she was the husband of Nerthus, and that over time Skaði and Nerthus changed sex, while Bek-Pedersen believes that the Ondurdis’s “blend of independent femininity and clearly masculine elements is mirrored in the female disir who ride horses and carry weapons.” (46) Ultimately, few scholars move beyond speculation into any sort of strong supporting argument.

Skaði’s words in Lokasenna suggest that she had a number of cult places, but because the “ska-” prefix is relatively common, it is difficult to determine just how many there may have been. Following the patterns of other gods’ place names it seems likely that locations with names such as Skadevi and Skadalund were hers; according to de Vries, most of these areas are located in mid- and eastern Sweden, while a few are in southeastern Norway.

Artemis:
In his entry for Skaði, Simek compares her to the Greek goddess Artemis, and he is not alone in doing so. Particularly among those who want Ullr and Skaði to be related, the tendency to make them into a Nordic Apollo and Artemis is strong. Skaði, with her harsh and warlike ways, her wearing of clothing typically worn by men, her love of hunting, and her use of bow and arrow does have some similarities to the daughter of Zeus and Leto. Also, Nasstrom notes that some male priests of Artemis castrated themselves before serving the goddess; this would fit well with theories linking castration with worship of Skaði. Artemis was widely worshiped, but unlike Apollo, who was said by the ancient Greeks to leave Delphi in the care of Dionysius in the winter while he travelled to the far north, there do not appear to be any extant myths telling of her adventures in Hyperborea or anything similar.

The Finnish Connection:
Scholars such as Mundal believe that Skaði is modeled on a Saami woman, while others, such as Steinsland, believe that she may have originally been a Saami goddess (perhaps Mielikki) who was adopted by the Germanic people. In the mythology, the giants and the Saami are often interchangeable. The Saami are characterized as being strong skiers and hunters, and Ottar of Halogaland reported to Alfred the Great that Saami women engaged in many of the same outdoor activities as the men. The etymology for the name of Skaði’s son Saeming is uncertain, but it could be Saami.

Mundal further theorizes that Skaði’s arrival in Asgard and choosing a husband from among the gods is influenced by a common motif in which a traveling hero who arrives in a giant or Saami household is invited to the bed of a daughter of the household. Skaði, having adopted a masculine role, forces the gods into a feminine role, inverting the motif, and Loki’s pain reflects the overall injury to the gods’ masculinity.

Freyr:
Simek flatly says that Skaði is Freyr’s mother in the entry for Skaði in his Dictionary of Northern Mythology, but in his entry for Freyr, he has no such information, instead simply saying that Freyr is the son of Njord and Njord’s sister. Freyr is called Skaði’s son (mög) in Skirnismal; though the word used may have been intended to mean stepson, she does act in a motherly fashion towards him in the poem. This, combined with her devotion to her father, has led many modern Heathens to view Skaði as one who even more than some of the other gods is concerned with kin-bonds, leading in turn to her not infrequently being hailed during Disablot-style ceremonies.

Goddess of Archery and the Hunt:
For modern Heathens, Skaði is a very popular goddess to invoke for recreational archers; my impression, based on conversations with other Heathens and on the number of essays posted on the internet about her, is that she is more frequently the recipient of blots intended to help find game as winter begins than Ullr.

Goddess of Skiing and Outdoor Sports:
Heathens who hike, camp, or otherwise spend a lot of time outdoors frequently make offering to her, and though she has not become as popular with non-Heathen winter sports enthusiasts as the son of Sif, the Ondurdis is still seen by many as a goddess of winter sports, too.

Ivaldi:
The name Ivaldi probably means “god/owner of the bow” or “god who rules in the yew tree.”  While most scholars who relate this name to one of the gods attribute it to Ullr, Schroder believes the name refers to Skaði.

Loki and the Mornir:
Schroder suggests that Loki’s getting Skaði to laugh hints at some sort of castration ritual (symbolic or actual) that was required to make the great goddess of the north switch from her winter aspect to her fruitful Mother Earth aspect. He further says that the goat was originally Skaði herself in the form of an animal; the Troth has taken his ideas to justify the goat as one of Skaði’s animals, adding that the Julbok is further evidence that the goat is an animal associated with her. In a similar vein, Strom argues that Skaði is one of the Mornir, perhaps the primary one, who receive sacrifice in Volsa Thattr, seeing both the tale of the farm folk Olaf visits and Loki’s antics as being presentations of the same poorly remembered basic ritual; she further argues that the ritual in Volsa Thattr represents a hieros gamos between Freyr and Skaði (cited in Nasstrom 105). Others, including Lindow and Gundarsson, toy with the idea, but stop well short of committing themselves as strongly as Schroder or Strom.

Through some conversations with an older Norwegian woman on Beliefnet several years ago, I was made aware of a sort of game that is played in Norway usually called “Passing the Volsi” or “The Horse Game.” According to her, it’s an old traditional game only played by women, and it’s often played by a bride-to-be and her friends during a sort of bachelorette party. A suggestive object such as a carrot (or, more often in recent times, a sex toy) is passed around, and whoever holds the object must tell the others a ribald joke, poem, or story. The object of the game seems to be to shock the others or make them laugh. Davidson in The Lost Beliefs of Northern Europe speaks of a similar tradition, called the Drunnir, in the Faroes in which the tail bone of an ox or sheep decorated with a ribbon is passed around. Assuming the modern games aren’t just a relatively recent invention inspired by Volsa Thattr, its existence may lend some support to the theories of Schroder and Strom.

Barbara Walker in The Women’s Encyclopedia of Myths and Secrets, apparently working off similar theories, says that Loki’s tug-of-war resulted in Skaði’s lap being bathed in blood, thereby fertilizing her and allowing spring to return to the land. She also says that in Skaði’s identity as Mornir (which Walker translates as “troll-woman”), the goddess collects the penises of castrated heroes and is a dark twin of Freyja who is virtually identical to Hel. Unfortunately, this strange speculation has gained significant traction on the internet, and there are now multiple sites, usually without attribution, that present versions of this theory.

Unsurprisingly, the Rokkatru of the Northern Tradition embrace the ideas in these theories whole-heartedly, presenting it in the Jotunbok that when winters were bad, a young man would be chosen to castrate via livestock in order to gain Skaði’s favor. According to them, Loki’s antics were a mockery of Skaði’s sacred rites designed to help him seduce her. A consequence of Loki’s actions was that actual castration was replaced with a symbolic one.

Njord:  
In modern texts of Norse mythology, Skaði is most often described as a goddess of winter, snow, hunting, and skiing. Her father is a frost giant, she is connected with wild nature and icy mountain, and common skaldic references for her include Ondurdis (“ski/snowshoe lady”) and Ondurgoð (“ski god”). In this context, her marriage to Njord and their alternating abodes are interpreted as a seasonal myth;  she represents the frozen ice and death in winter, while he represents the open harbors, flowing rivers, and life of summer. This is especially supported by alternate manuscript versions of the length they stay at each home. In some manuscripts, they dwell at Noatun for only three months while staying in Thrymheim for nine, reflecting the comparatively short summer in the far north.

Scandinavia:
One of the more lively etymological controversies involving Skaði has to do with the origins of the name Scandinavia. Pliny the Elder (d. AD 79) in his Naturalia Historia describes the land in the north as consisting of many islands, the best-known of which is Scatinavia. One prominent theory whose acceptance has waxed and waned over time (currently, its popularity is rather low) is that the name Scandinavia comes from *Skaðin-awjô, “Skaði’s island” or “the island in the shadow.” Other scholars prefer an interpretation of “the dangerous island,” referring to hazardous reefs around the area.

Proponents of “Skaði’s island” include Bauschatz, Schroder, and Steinsland. Bauschatz sees a possible connection between the island of Skaði and the island of Nerthus and feels that both islands are representatives of the greater goddess container, Urð’s well; as well, he believes Skaði’s name may come from Lithuanian skasti, spring, and observes “here is not only the active, lively, moving water of the well but also a kind of capricious or uncontainable movement derived from it.” (133) Schroder argues that the name is a dim survival of a very early importance of the cult of Skaði; though she once ruled the land, her worship was eventually supplanted by worship of the Æsir. Steinsland, on the other hand, claims that Skaði, a giant, represents the earth; the gods she marries represent mortal kings. Their union reflects the bond between land and lord (and incidentally creates a dynasty of Norse chieftains). The views of these authors are very popular with those Heathens who wish to create an identification between Skaði and Nerthus, thereby cleaning up the question of the parentage of Freyr and Freyja and giving Skaði a strong fertility aspect; it also enjoys some popularity with those Pagans who subscribe to the idea of a prehistoric matriarchal goddess-oriented utopia that was eventually destroyed by the rise of war gods and their worshippers.

According to Svennung (cited in Helle and Mundal), the oldest Saami songs refer to the known world as Skadesi-suolo, which can be interpreted as “Skaði’s island.” Svennung believes the name to be a borrowing through Germanic contact since the “sk-” sound is not native to the Saami language.

Scathach:
Scathach is a skilled warrior and magician from Celtic mythology who is known primarily for training various heroes, including Cu Chulainn. Her name means “shadowy,” and she lives in Dun Scaith (the Castle of Shadows). Walker believes that Scathach and Skaði are the same figure, a sort of destroying goddess of the Underworld.

Sceaðu:
Though she does not appear to have originally been worshiped outside of Scandinavia, the Theodish have invented an Old English name (Sceaðu, “Injury”) to call her by in their own worship.

Thjazi:
Some of the speculation around Skaði concerns her father. Thjazi’s father is given as Alvaldi in Harbardsljoð and Olvaldi in Skaldskaparmal, names similar enough to Ivaldi that Rydberg believes Thjazi was one of the sons of Ivaldi. Rydberg argues that, based on verses in Lokasenna and Hrafnagaldr Óðins, Iðunn is Thjazi’s sister or half-sister; Thjazi was angered after the gods’ judgement of the gifts of the sons of Ivaldi and removed his relative from Asgard as a result. Though Thjazi has made himself an enemy of the gods, to honor him and his gifts, the gods make stars of his eyes and give his daughter recompense. Various versions of Rydberg’s theory have made it onto the internet, usually without attribution.

Building on Svennung’s conclusion about the meaning of Skadesi-suolo (but ignoring his belief about the name being borrowed), Steinsland speculates that Skaði was originally a Saami goddess who was incorporated into the religion of the Germanic people. According to her theories, the name of Skaði’s father, derives from the Saami fishing god, Tjatseolmai, tjatse meaning “water” or from Čáhci, “the waterman.”

The Troth:
A number of person belonging to the Troth “work” with Skaði regularly and believe they have gained some additional insight into the goddess beyond what the mythology offers. The Troth says that, in addition to traditional occasions to pray to her, Skaði may be asked for help when driving on snow or ice, when trying to become more physically fit, or when needing justice. Gundarsson observes that, though she herself seems interested in male partners, Skaði is particularly appreciated by women who prefer other women or who take on a “‘masculine social role.” The Troth recommends offering her iced vodka in crystal cups, and gives her colors as black, dark brown, and white. According to them, her animals include goats, wolves, and dark colored eagles.

Ullr:
Though there is no surviving pre-Christian myth concerning Ullr and Skaði, persons of all backgrounds continually seek to bring the two together.  Rydberg argues that Thjazi and Egil are brothers (and that Egil is Ullr’s father), making Skaði and Ullr cousins. Schroder, seeing in Skaði and Ullr a Germanic reflection of Mielikki and Tapio, a married pair of Finnish winter hunting gods, tries to make them either brother and sister or lovers (or, in Vana-fashion, both). Griffis, the compiler of Dutch Fairy Tales for Young Folks, includes a story in which Ullr and Skaði are husband and wife with six daughters. Online, there is a very common version of the marriage of Njord and Skaði that has Skaði meet Ullr shortly after her divorce from Njord; she and Ullr, with their shared love of hunting and skiing, are soul mates and live happily ever after.

In addition to the similarities between the two, it is worth noting that Skaði in the mythology does more often have relationships with wights who are border-powers, individuals who defy typical definitions or who fit in irregularly with the Æsir. Njord’s domain includes those areas where the land and rivers meet the sea; he is a Van living as hostage among the Æsir, and his status among them is perhaps not what it would be in Vanaheim. Loki and Odin are both wights who often act in defiance of what is considered proper behavior, shifting form, wandering the worlds and interacting with men and giants, and, in Loki’s case, carving a niche for himself among the dwellers in Asgard despite his ambiguous status. Ullr is also one who, though a god, appears to stand apart from the other gods (as in the formula “Ullr and all the gods”); in this way, he would be an appropriate companion for Skaði, the giantess who receives worship and is listed among the Asynjur.

Many modern Heathens, relying on the “shadow” meaning for Skaði’s name, see her and Ullr (“glory”) as representing darkness and light during winter, with Ullr’s majesty perhaps even reflected in the Aurora Borealis. While there is some poetry to it, there does not appear to be any evidence that anyone before the conversion believed this.

Vengeance, Justice, and Reconciliation:
Because of her actions in the mythology, Skaði is a popular goddess for modern Heathens to call upon not only in matters of revenge but also when justice or an end to fighting is desired.

Non-Heathen Modern Culture:
Skaði appears in a few areas outside of modern Heathenry. A moon of Saturn and a mountain on Venus are named after her. In works of fiction, video games, or comics, when she appears, it is usually as a wielder of ice magic of some kind.

Skaði is a modestly popular name in Scandinavian countries. Most online baby name dictionaries give the meaning of the name as “goddess of skiing.”

In other Pagan traditions, Skaði is usually portrayed as either the wintery aspect of the Earth Goddess or as a version of the Maiden Warrior. She is revered by feminists of various types, single mothers, and women who have non-gender-traditional careers or who otherwise act in ways inconsistent with their culture’s gender expectations. Pagans who want to worship the old Germanic giants and their ilk may use Skaði as justification for what they do. When they are not young people who seem to want some sort of Asatru Satanism to adhere to, their beliefs often include a sort of version of Schroder’s theory of an ancient pre-Æsir cult; where Schroder’s is one in which Skaði was of supreme importance, however, the giant-worshipers tend to postulate a system in which the giants were the primal forces of nature who were worshipped by noble savages who lived in harmony with their surroundings before the civilized Æsir worshippers came along and destroyed everything.

Personal Worship and UPG:
My worship of Ullr has made me amenable to the idea that he and Apollo may be the same individual; as such, I’m willing to entertain the idea that Skaði may be related to Artemis in some fashion as well. I have no evidence or personal experience one way or the other, though, and sharing some superficial similarities by no means makes one person the same as another. I personally find Mundal’s theories regarding Skaði’s relationship to the Saami people to be compelling; given the contact between the Saami and the ancient Norse, it may be that the Germanic people found it easier to explain their understanding of the goddess in terms of a nearby culture.

Her popularity is not without its downside, unfortunately. There is a great deal of UPG and misinformation presented as ancient belief, and it can be frustrating to sift through all the dross in search of worthwhile information. The widespread repetition of the “Skaði calls herself Mornir when she goes around collecting penises” bit on the internet is especially annoying.

Skaði is an object of fascination for me, and over the years, I have begun to hail her a little more often at blot or sumbel. She is the exception to a great many rules, a wight whose very existence seems to counter many people’s ideas about pre-Christian Germanic religions. Skaði is perfect to bring up in discussion with racist and strongly folkish Pagans (the red hair and freckle folk), sexist and “gender-traditional” Heathens, people who think that only beings descended from the Æsir or the Vanir are worthy of worship, and those who believe that Jotun is a synonym for enemy of the gods. With the rise in popularity of becoming a god-spouse (or god-slave), I’ve considered declaring myself the god-spouse of the Skir Bruðr Goða. Though I do have affection and admiration for her, I would mainly do it because every god-spouse I’ve encountered who’s not in a relationship with Odin is with Loki. I could then declare that my god-wife wants me to be the enemy of the Loki-spouse and behave accordingly. While it would be amusing, I have ultimately decided against it; not only would I risk annoying a goddess I like with my presumptuousness (though I suspect my motivation would help make her less angry), but I would also perhaps be giving the false impression that I approve of the institution.

References:

“Ancient Germanic Languages Documented – A Preliminary Sketch” http://www.omniglot.com/language/articles/eastgermanic.htm Accessed December 2012

Bauschatz, P. (1982) The Well and the Tree: World and Time in Early Germanic Culture.

Bek-Pederson, K. (2011) The Norns in Old Norse Mythology.

Davidson, H.R. Ellis. (1964) Gods and Myths of Northern Europe.

—. (1989) Myths and Symbols in Pagan Europe.

—. (1998) Roles of the Northern Goddess.

—. (1993) The Lost Beliefs of Northern Europe.

de Vries, J. (1956) Altgermanische Religionsgeschichte.

Griffiths, W. (1918) Dutch Fairy Tales for Young Folks.

Guerber, H.A. (1909) Myths of the Norsemen: From the Eddas and Sagas.

Gundarsson, K. et al.  (2006) Our Troth 2nd Edition Volume 1: History and Lore.

Helle, K. et al. (2003) The Cambridge History of Scandinavia Volume 1: Prehistory to 1520.

Lindow, J. (2002) Norse Mythology: A Guide to Gods, Heroes, Rituals, and Beliefs.

Mundal, E. (2000) “Coexistence of Saami and Norse Culture- Reflected in and Interpreted by Old Norse Myths.” http://sydney.edu.au/arts/medieval/saga/pdf/346-mundal.pdf  Accessed December 2012

Nasstrom, B. (2003) Freyja, the Great Goddess of the North.

The Poetic Edda. (1936) Translated with commentary by Henry Bellows.

—. (1996) Translated with commentary by Carolyne Larrington.

—. (2011). Translated with commentary by Andy Orchard.

The Poetic Edda: Volume II: Mythological Poems. (1997) Edited with Translation, Introduction, and Commentary by Ursula Dronke.

The Poetic Edda: Volume III: Mythological Poems II. (2011) Edited with Translation, Introduction, and Commentary by Ursula Dronke.

Rydberg, V.  (2003) Our Fathers’ Godsaga Retold for the Young. Translated by William Reaves.

—. (2004) Investigations into Germanic Mythology Volume 2 Part 2: Germanic Mythology. Translated and annotated by William Reaves.

—. (2007) Investigations into Germanic Mythology Volume 2 Part 1: Indo-European Mythology. Translated and annotated by William Reaves.

“Scáthach Feature Page on Undiscovered Scotland” http://www.undiscoveredscotland.co.uk/usbiography/s/scathach.html Accessed December 2012

Schroder, F. (1941) Skadi und die Gotter Skandinaviens.

Simek, R. (1993) Dictionary of Northern Mythology. Translated by Angela Hall.

“Skadhi” http://www.wyrdwords.vispa.com/goddesses/skadhi/index.html Accessed December 2012

“Skadi – “Destroyer” Goddess” http://goddesschess.blogspot.com/2011/07/skadi-destroyer-goddess.html Accessed December 2012

“Skaði: Wilderness Woman” http://www.hrafnar.org/articles/dpaxson/asynjur/skadi/ Accessed December 2012

Snorri Sturluson. (1987) Edda. Translated by Anthony Faulkes.

— (attributed). (1991) Heimskringla: History of the Kings of Norway. Translated by Lee M. Hollander

Steinsland, G. (1991) Det Hellige Bryllup og Norrøn Kongeideologi.

Walker, B. (1983) The Woman’s Encyclopedia of Myths and Secrets.

“Winter’s Fury” http://www.northernpaganism.org/rokkatru/jotunbok/winters-fury.html Accessed December 2012

Like ice melting, mail gleams,
A goat and a rope, white feet and new stars;
Wolves’ howls, gulls’ cries, unhealed scars,
Like flames freezing, venom steams.

Sly One stays too long at feast,
Too many missing by his wiles,
Too little charm, too few smiles:
Now, cold counsel comes from east.

A serpent to silence his slurs.
Thjazi’s Thudding Home, now hers.

Hail Skaði!

© 2012 Sorn Skald
- This poem is in the Common Domain and may be freely distributed, provided it remains unchanged including copyright notice and this License -

After everyone who was able to attend had arrived and chatted for a bit, we began our rounds of sumble. In recognition of some of the tragedies that had occurred across our country recently, we had a moment of silence for those individuals who would not be able to be with their families this Yule season. I then announced our reason for gathering and hailed the powers of the season. Others followed with worthy hails, boasts, oaths, and toasts; many chose to hail the Hall itself during the third round. After the rounds were completed, a small amount of mead was left for the husvættir, and the remainder of the drink was poured outside over the horgr near my house.

Following the libation, we returned inside to share drink, food, and companionship. Debbie and I gave a few gifts to the people who had warmed our home that evening, and gradually over the next several hours, everyone parted ways, wishing each other a glad Yuletide.

Yule Wreath 2012

We set up in the Social Hall at the First Unitarian Church in Albuquerque. Some tables were laid end-to-end, creating a single very long table which I covered with some autumn-themed tablecloths. Atop the table were statues of Freyja and Skaði, a vase of flowers, some raven-shaped tea light holders, and a number of bottles of drink for people. After everyone had gotten themselves some food and drink and settled around the table, I explained what we were doing and why. Then, we began.

CUUPs Winternights Disablot 2012 Script

Opening Song:
“Hail to the Hammer” by Tyr

Statement of Purpose, Hail Powers of the Season:
May this brew be blessed that over it worthy words be spoken.

As days grow short and nights grow long
And raven croak replaces robin song,
As summer dies another death
First frost touches us with frozen breath;

Now will the Hunter bend his bow,
Prepare his skis for coming of snow.
Now will Ollerus ascend the shelf,
Dispense wise words to Ash, Ás, and Alf.

Now is the waning of the year’s light. Now is a time to look to powers like the Vanadis and thank them for summer’s bounty. Now is a time to look to powers like the Ondurdis and thank them for their aid in the dark, cold months. Now is a time to thank our own Disir, the matrons of our clans, for what they have given us, for the increase of summer as well as the means to survive the winter.

Hail, Valiant Vanadis! Hail, Lady of the Vanir! Hail, Sessrumnir’s fair mistress! Hail and thanks for fertility, for fecundity, for the lust and love and life that brought us increase throughout the year.

Hail, Awesome Ondurdis! Hail, Snow-shoe Goddess! Hail, shining bride of the gods! Hail and thanks for showing us the value of vengeance and of reconciliation, for lending courage and clarity in dark, murky times.

Hail, Disir! Hail, mighty matrons of our lines! Hail, those who have come before! May we be ever mindful of the good in our lives that your actions brought us, may we remember and honor your sacrifices, and may we live our lives in such a way that we make you proud and that those who come after us will see fit to honor us as well.

Now each may hail as seems right.

Personal Hails to the Disir.

Closing Song:
Modified version of “Is, Was and Shall Be” by Beverly Frederick

Conclusion:
Into the well may these words be laid,
And from them worthy deeds be made.
From the gods to the earth to the folk,
From the folk to the earth to the gods. Hail! (Make libation)

I call this rite rightly done.

The libation was made at the base of a large tree outdoors in the church courtyard. I thank the fine folks of the Coyote Willow CUUPs for this opportunity, and I wish them the best in their future endeavors.

Is, Was and Shall Be (Original Lyrics)
by Beverly Frederick

Three from the hall beneath the tree
Is, Was and Shall Be.

Come Wyrd sisters swoop to the ground
Loosen the web that binds us down

Join with the hands of the Weaver Three
Is, Was and Shall Be

Modified Lyrics
Three from the hall beneath the tree,
Urð, Skuld, Verðandi. (x2)

Come Wyrd sisters swoop to the ground
Loosen the web that binds us down. (x2)

Join with the hands of the Nornir Three,
Urð, Skuld, Verðandi. (x2)

Longing eyes turn into the sun
Low in the winter,
Grey as a wolf, now the wind has come
Cold as a hunter.

Ride across the sky, thunder roll and lightning fly,
Gone is the summer,
What will keep us warm in the winter?
Tales of those who died, sword in hand in times gone by;
Hail to the Hammer, Hail to the Hammer.

Narrow eyes turn against the wind
Out from the ocean,
Until the day when we sail again,
Life is a long pain.

Ride across the sky, thunder roll and lightning fly,
Gone is the summer,
What will keep us warm in the winter?
Tales of those who died, sword in hand in times gone by;
Hail to the Hammer, Hail to the Hammer.

To the God of Thunder
The god that’s protecting us all,
All hail to the Giant Hunter
And hail to the forces of nature all.

Hail to the Hammer, Hail to the Hammer,
Hail to the Hammer, Hail to the Hammer:

Ride across the sky, thunder roll and lightning fly,
Gone is the summer,
What will keep us warm in the winter?
Tales of those who died, sword in hand in times gone by;
Hail to the Hammer, Hail to the Hammer,
Hail to the Hammer, Hail to the Hammer!

© Heri Joensen/TYR

Because of the unpleasant weather, we had decided ahead of time to not linger by the river. I poured some steaming mulled mead I had prepared at home from my thermos into a horn and then we began our celebration. I announced the purpose for our gathering and hailed both the powers of the previous season as well as the ones of the season to come. We then worked our way through the rounds of sumble, hailing the gods, our ancestors and heroes (especially our female ancestors), and our own deeds. After I read the Keeper of Seasons Hall hail for the year, we shared a few donuts, made a libation with the rest of the mead, and made an offering to the river before returning to the trailhead and our vehicles. We met up again at the new Annapurna’s location on 4th Street, where we shared breakfast and company for a while before going our separate ways.

The Keeper of Seasons Hall Hail for 2012:

With the holding of this blot, our hall has stood to see fifteen winters. Slowly though it started, our hall continues to move forward. Again those ravens who take flight in spring have sought our steads in these winter nights, and again the hall who takes its name from them seeks these holy works and each other in blessing, raising high the horn and continuing to blot the holy powers, blithe and bold, with the will to live well.

In the seasons to come let us seek to bring forth all that we wish to have in our hall, but as Odin trembles Munin’s return, may we be ever mindful that memory is foundation. May we wax in words and deeds in this fifteenth winter!

Hail to you, good friends of the hall; in high esteem should all be held. From these words, may worthy words follow and from this deed, great deeds find their footing.