Beloved
Originally published in Idunna 43, 2000
Beloved
by Diana L. Paxson
In the Ring operas Richard Wagner succeeded in bringing to
life the world of Germanic legend. His Wotan, especially, speaks (or rather,
sings) with the voice of the god. But in his portrayal of the goddesses
Wagner is less successful. He identifies Freya with Idunna, and portrays
her as a shrinking maiden in a way which does neither goddess credit.
Fricca, in the operas, comes off as an even bitchier version of the Classical
Hera the archetypal jealous wife, forever scheming to keep her patient
husband from wandering. One is given to understand that the characterization
was modeled on his relationship with his first wife, Minna, who had reason to
complain.
The ancient Frigga, whose very name comes from the old word for love
(c.f. Old English, frigu, love), is a very different figure.
Not only does she not appear to resent Odin's relations with other women,
she herself is said to have lived with his brothers ("Lokasenna": 26, and
Ynglingasaga: 3) when he was away, without his objecting.
Indeed, the relationship between them is one of mutual respect, and their
only recorded quarrels are not marital, but political. She offers her
favors to whoever can save Baldr, without apparently inspiring either
surprise or objections. In fact the accusations made by Loki against most
of the goddesses at Aegir's famous party suggest that the concept of
freedom with discretion governed sexual conduct. As Njorth points out
regarding Freyja, "It is no crime that a woman have both husband and
lover..." ("Lokasenna": 33).
But if Frigg is not to be viewed as a jealous bitch, how should we see
her? The references which are made to Frigg in the surviving literature,
though not copious, can provide some interesting insights. When one adds
to these an analysis of the goddesses most closely associated with her, a
complex and fascinating image begins to emerge. The result not only adds to
our picture of the personnel of Asgard, but can serve as a basis for a
psychology of the feminine.
Lore of Frigga
Fjorgvinn's Daughter
In "Lokasenna" we are told that Frigga is the daughter of Fjorgynn.
The feminine name Fjorgyn is also given to Jordh, Earth. Either way, she is
the daughter of Jotnar, kin to Thor by blood as well as marriage, which may
explain why so many of those who work with Thor find themselves drawn to
Frigga as well. She is also by ancestry an earth goddess, appropriate mate
and counterpart to a god who rides the skies.
Many of Frigga's qualities seem to derive from this earthy origin her
rooted stability and deep wisdom. Many feel that her rune is Berkano, whose
shape represents the breasts of the goddess, and whose name, the Birch, is
that of the graceful, enduring tree of the north.
Giver of Sovereignty
In "Lokasenna", Frigga is accused of having lived with Odin's brothers
(Vili and Ve) while he was away. Since Frigga is otherwise thought of as a
model of fidelity, some speculate that the "brothers" are really aspects of
Odin. There is, however, another possibility if Frigga is an earth-goddess,
the territory to which she is linked is that of the Aesir, and she carries
its sovereignty. In this case, her polyandrous association with Vili and Ve
gives them the legal and spiritual right to reign without interrupting Odin's
sovereignty. "Ve", the holiness of place or spiritual focus, and "Vili", the
Will that rules, remain with the goddess in Asgard while the ecstatic "Wod"
wanders the worlds.
Though Frigga may stay quietly at home, she has been known to take an
interest in the affairs of humankind. In the Origo Gentis
Langobardorum, Paul the Deacon tells us that
... the Vandal leaders, Ambri and Assi, asked Godan [Wodan] whether
he would grant them victory over the Winnites. To this Godan
replied: "I will give victory to those whom I see first before
the sun rises." At the same time, Gambala and her sones requested
of Frea [Frigga], who is the wife of Godan, that she be well
disposed towards the Winniles. Frea gave them a plan in which they
would go out with their women when the sun was rising. The women
were to loosen their hair and wrap it around their faces so that
they would appear to have beards. Then the shining sun rose and
Frea turned the bed upon which her husband was sleeping so that
it was facing the East. Then she awoke him.
Godan looked out and saw the Winniles with their hair on their
faces and exclaimed, "Who are these long-bearded ones?"
Frea replied to Godan, "Just as you have given them a name,
so shall you grant them victory."
He gave them the victory, and when he appeared, they conquered and
had the victory. From this time on, the Winnlies have been called
the Langobards [Lombards].
Even better known is the story told in "Grimnismal". Odin and Frigga had
taken under their protection two brothers, Agnar, protected by Frigga and
Geirroth, who was favored by Odin. Through Odin's counsel, Geirroth cheated
Agnar out of his heritage and became king, while Agnar ended up in the
wilderness. To even the score, Frigga accuses Geirroth of lacking in
hospitality, and dares Odin to prove it by showing up incognito. She then
sends Fulla to warn the king that a dangerous sorcerer is wandering about,
who can be recognized because no dog will attack him. Naturally, when Odin
shows up at Geirroth's door, all the dogs cower before the Lord of Wolves,
and the king, determined to find out what is going on, seizes the stranger
and orders him to explain himself.
When Odin will say no more than that his name is Grimnir, the Hidden One,
Geirroth has him bound between two fires. There he stands for eight nights,
until the king's son, also called Agnar, can no longer stand it and brings
the stranger a horn of mead and orders him set free. Odin's first response
is to declare that the sovereignty has passed from the king to his son.
Then, as if to make up for his silence, the god gives us seventeen pages
(in the Hollander translation) of lore. Geirroth, realizing finally just
Whom he has been tormenting, jumps up, trips, and stabs himself with his
own sword.
The Mother of Baldur
In his poem "Sonatorrek", Egil Skallagrimsson refers to the dwellers in
Asgard as "Frigg's descendants". But though she may be regarded as
"All-Mother", we know of only one child born of her body Baldr the
Beautiful. The story of his untimely end is also the myth in which Frigga
plays the most active role.
When Odin has returned from Hel with the Volva's interpretation of Baldr's
dreams, Frigga acts to save her son by exacting oaths from all things to do
him no harm or rather, almost all. Unfortunately, after completing this
labor, she undermines her own action by confessing to the hag that she has
neglected to get the oath from the lowly mistletoe. The mistake proves to be
fatal. Of Frigga it is said that she knows all fates, though she does not
tell what she knows ("Lokasenna" 29). One cannot help but wonder why, in
that case, she does not realize that her efforts to save her son will be
fruitless, or that the "hag" is really Loki, or that telling him about the
mistletoe will bring about the very tragedy she is trying to prevent.
The same question could be asked, of course, about Odin, who is told
exactly what will happen by the Volva and yet does nothing. One senses not
only an ambivalence in the motivations of Baldr's parents, but the workings
of a Wyrd so powerful that it binds even the highest gods. (see "The Mystery
of Baldr", in Idunna #31). Her inability to save Baldr is
Frigg's first great sorrow, as the claims of motherhood give way to those
of the Norns.
Spinner of Fate
As we shall see below, Frigga is associated with the craft of spinning.
Spinning, however necessary and domestic, is also a magical art. The twining
of separate fibers into a strong thread is a minor miracle, as well as a
powerful metaphor for the multiple elements that entwine to create our
orlog. Freya Aswynn suggests that she spins the thread that the Norns are
weaving. If so, she does so in her character as a birth goddess, chief of
the matronae, the Mothers who preside over childbirth and bestow orlog on
the new-born. She is therefore honored on Modranicht with the disir. Frigga
is fulfilling this role when she asks Odin to send the valkyrie with the
apple of fertility to King Rerir so that he may beget a child. In this
aspect, she is therefore closely linked to the Norns, and the powers of Wyrd
which come from the Womb/Well.
Lady of the House
Frigga has her own dwelling, called Fensalir, the hall in the marshes.
Many believe that it is here that she lives with her household while Odin
is wandering. The twelve lesser goddesses who attend her, about whom we
will discover more below, may be seen as the moons, or a coven, or her
attendant handmaidens.
Frigga is indeed, a very domestic goddess, associated in particular with
that most characteristic task of the ancient housewife, spinning. In Sweden,
the "belt" in the constellation Orion is called Friggerock Frigga's
spindle. Since her cart is drawn by two rams, one assumes she is spinning
wool, just as Horn and Holda spin flax. Like Freyja, she also has a falcon
plumage. Because of the location of her hall, I like to think of her bird
as the osprey. In trancework, geese (the bird of Juno) also often appear,
but Frigga's are the wild Canadian geese that spin skeins of migrating
waterfowl across the skies in the spring and fall.
A Constellation of Goddesses
Frigga is called first among the asynjur (the goddesses). The twelve
lesser goddesses who attend her at Fensalir may be seen as the moons, or a
coven. She has been called All-Mother, an apellation which seems especially
appropriate when we consider that the twelve "handmaidens" whom Snorri
associates with her can in fact be viewed either as separate figures or as
hypostases, or aspects of the goddess Herself personae which she adopts
in order to play a more active role.
Because the coding of old Norse poetry allows any Goddess-name to be
combined with an identifying characteristic of another to refer to the
latter (viz. "Freyja of the ram-cart" would equal Frigga), a concept of
aspects is implied. Frigga's attendant "maidens" (who are virgins in the
sense that they are independent of men), can be viewed as separate entities
or as paraphrases for the Goddess herself, amplifying our concept of her
nature. Together, they make up a model for the female psyche.
Several years ago some of the women in my kindred started meeting
separately to study the mysteries of the Asynjur in general and Frigga
and her maidens in particular. Despite the scarcity of information about
them in the lore (for most, we have only a sentence or two from the
Younger Edda), as we began to investigate the twelve, we discovered
that each demi-goddess not only represented an area of great importance in
Old Norse culture, but has considerable significance for women today.
Let us consider them in more detail
Saga
Second after Frigga herself, Snorri places Saga, who
lives in Sokkvabek (Sunken Hall), "a very big place". In "Grimnismal":7 we
are told,
Sokkvabekk called is the fourth, which cool waters
ripple round about;
there Odhin and Saga all their days drink,
glad from golden cups.
Presumably while Odhin and Saga are drinking together, they are trading
stories. According to the Icelandic Dictionary, the name Saga is "akin to
'segja' (to say), and 'saga', which is
a story, tale, legend, history. The very word owes its origin to
the fact that the first historical writings were founded on
tradition only; the written record was a 'saga' or legend committed
to writing; the story thus written was not even new, but had already
taken shape and had been told to many generations under the same
name. ... Storytelling was one of the entertainments at public
meetings in Iceland, at feasts, weddings, wakes; such entertainments
are mentioned even at the meetings of the Icelandic Althing.
A sayer of sagas is a sögu-madhr ('saga man') or
sögu-kona ('saga woman').
(Cleasby and Vigfusson, Icelandic Dictionary)
One pictures them matching beers and competing to see who can outlast
the other in both capacity for booze and number of stories. Saga, whose name
is also the word for a history, knows the names of the ancestors and all the
family stories. She is probably the one who gives advice to the disir, and
speaks through every old grandmother who preserves the box of family photos
and remembers the old ways. If one is looking for a token to represent her,
I would choose a manuscript or a golden cup.
Saga can be invoked for help in storytelling, or writing, especially
history, legend, historical fiction. She helps us to remember and understand
the past. She is interested in personal, family and cultural history, and
oral history. To get in touch with her, collect family stories and write
them down. A ritual in honor of Saga might feature a story telling circle.
Light a cozy fire in the fireplace, and pass the cup or horn.
Eir
Third on Snorri's list is Eir, "...an extremely good physician."
In "Svipsdagmal" she is a companion of Mengloth, dwelling on Lyfja, the
Mountain of Healing, of which is said,
"'Tis Lyfja Mount hight, and long has it been
for the sick and the halt a help.
for hale grows wholly, though helpless she seems,
the woman who wins its height." (36)
The name is also included among "Odin's maids", the rest of whom are
elsewhere given as valkyries, but here are described as "the norns who
shape necessity".
Eir is the healer of the gods, her origins are mysterious, but she linked
by her skills to the shaping of fate. Like many traditional healers, she
seems to move from place to place as her services are required, serving as
household physician. It would seem that she practices the kinds of medicine
traditional to women, strongly based in the lore of herbs and foods and
spells. In our work with her, she appears stern but compassionate; her
token is the mortar and pestle.
A ritual for Eir might involve the preparation of amulets with healing
herbs. Some of the ones I have used include: Angelica (remove hex,
neutralize evil), garlic (absorb disease, aseptic), Comfrey
(Bruisewort/Boneset - internal healing) Mint (protect, relieve
pain), Mugwort (repel or expel evil spirits,) Mullein (Doffle
-wards against colds), Rosemary (cleanse, purify, heal), Rue (Rude
- relieves headache, aids recuperation and wards off disease), Sage
(Sawge - long life), Wood Sorrel (Surelle - heart),
Tansy (the buttons - fever), Thistle (strength, energy), Violet (heal wounds,
cure headache). The leader presents the herbs, passes each around to be
examined, then puts it into the mortar. When everyone is familiar with all
the herbs, the mortar is passed around and each one takes a turn at grinding
the herbs. When the grinding is finished, pass around pieces of cloth,
some yarn, and a pen. Each one takes a pinch of the ground herbs, in the
cloth, ties it up and inscribes it with an appropriate rune or the name of
a person needing healing. The amulet can be carried, hung over a bed, etc.
Gefion
Fourth comes Gefion, who is said by Snorri to be a
virgin, who welcomes all who die unmarried. Her name means "giver" and is
also an epithet of Freyja. In Heimskringla, she appears
independently as a Danish goddess. In the history of the Ynglings, Snorri
tells us that Odin
"...sent Gefion northeast over the sound to look for land; she then
came to Gylfi, who gave her a ploughland. Next she went to a giant's
home and there begot four sons with a giant. She shaped them in the
likeness of oxen, yoked them to a plough and broke up the land unto
the sea westwards opposite Odensö; it was called Selund
(Zealand), and there she dwelt afterwards. Skjold (Scyld Sceafing)
...took her to wife." (Ynglingasaga: 5)
Thus, she gives us earth itself, manifesting it out of the primal sea by
working with the elemental powers. With her aid a single field becomes a
tribal homeland and the god of the sheaf gives an abundant harvest.
Like Freyja, she is said to have traded her favors for a sacred necklace.
When the gods gathered to feast in Aegir's hall, Loki came among them and
said
"Hush thee, Gefjon, I have in mind
who lured thee to lust:
the fair-haired swain sold thee the necklace,
ere thou threwest about him thy thighs.
Odin said: "Bereft of reason and raving thou art,
to earn thee Gefjon's grudge;
for the world's weird she, I ween doth know
even as well as I."
("Lokasenna": 20-21)
Some say that her lover was HeimdallR, who rescued the necklace
Brisingamen from Loki. In old English, "geofon" is used in poetry as a name
for the sea. But Odin ascribes to her the same deep knowledge elsewhere
attributed to Frigga herself.
Gefion is the path where Freyja and Frigga meet. But in Frigga's hall,
Gefion gives as a mother gives. Through her power you reach into the
bottomless store and never run short. We pray to her for enough to meet our
needs. She is one of the golden goddesses. Her token is the basket or
cornucopia. A working for Gefion can include the exchange of gifts
Each participant blesses her gift. Put all the gifts in the cornucopia on
the altar. Bless it. Then pour them into a basket covered by a veil, pass
it around, each one reaches under the veil and pulls out a present and
opens it.
Fulla
Fifth in Snorri's list comes Fulla. He tells us that she
is a virgin, with flowing hair held by a gold band. She carries the casket
of Frigg, looks after her footwear and shares her secrets. Nana sent her a
finger-ring from Hel. She may be the same as Volla, called Frigg's sister
in the Merseberg charm, and suggested by Grimm as a female counterpart of
Phol, who may be same as Baldr (in which case she would be a daughter, not
the sister of Frigg). She was sent by Frigg to delude Geirrod.
We see Fulla as the keeper of Northern Women's Mysteries. She is a
threshold figure who holds the visible symbol of the mysteries. She who can
open Fulla's casket gains access to the treasure women have kept hidden in
that place where no man can see. Her tokens are the golden headband and the
casket she bears. She has been envisioned as moon pale, with long fair
hair. To understand Fulla's powers, we need to consider what the treasures
she guards might be, and how, or why, we guard them. One way is to draw a
box, and write within it the names or our own resources and abilities. Or
one might choose an actual box and gradually fill it with items which
symbolize the things we value.
Sjofn
After a discussion of Freyja, Snorri continues the list of Frigga's
attendants with Sjofn, "...who is much inclined to
direct people's hearts to love, both women and men. It is from her name
that affection is called siafni."
Sjofn is the goddess who inclines the heart to love. Her power extends
far beyond the simple attractions of lust or romantic love. When one
meditates on her functions it is clear that she governs the whole web of
affectional relationships by which women maintain family unity, including
the love of siblings, parents and children and the affection that grows
between those who work together. Her token is a rose-colored stone heart on
a golden chain.
When we did a blot for Sjofn, each person received a heart charm.
Everyone was asked to list nine beings for whom we feel affection, and nine
who regularly showed affection for us. We took some time in meditation to
identify the feeling of receiving and giving love, and projected that
emotion into the charm. The hearts were collected and mixed up, then
passed back around for each person to take one.
Lofn
Not too surprisingly, Sjofn is followed by Lofn,
who is "...so kind and good to pray to that she gets leave from All-father
or Frigg for people's union, between women and men, even if before it was
refused. Hence it is from her name that it is called "lof,"
(permission), as well as when something is praised (lofat)
greatly by people."
Today, heterosexual relationships are rarely forbidden. It is love
between people of the same gender which requires Lofn's assistance in
order to speak its name. These days, she might well be addressed by Gay
men and Lesbians.
But the concept of "permission" is profoundly important even beyond the
area of love. Lofn may help us give ourselves permission for all those
things that our own mental blocks or society's opinion discourage us from
doing, including developing or exercising our own spiritual power. She is
the door to freedom and access to joy, the opener of the way. Her token
is a golden key.
We honored Lofn by blessing a key to place on the altar during rituals.
Such a key could also be blessed as a personal charm. Holy herbs were
sprinkled into water and stirred while chanting the spell. Then the key was
put into the water to absorb the magic. Where known, we use the Anglo-Saxon
names for the herbs.
Beorc (birch) for the door, Mistledene (mistletoe) for the key.
Yearwe (yarrow) leaf to clear the way;
Mucgwyrt (mugwort) makes all plain, Wealwyrt (elder) frees from spells,
Eorthmistel (basil) bonds in sympathy;
Salfige (sage) to be wise, Violet changes luck,
To purify, Bodhen (fern) and bay.
Lofn, turn the lock, Lofn lift the key,
Lofn, let me love and learn and be all that I may!
Var
Snorri tells us that Var witnesses oaths and private
contracts "varar", especially those between men and
women, and punishes those who break them. Her name may also have some
relationship to the term "varda", a legal term meaning to
warrant, guarantee or answer for, cognate to the English "ward", and by
extension, "vardlokkur" a "ward-song" or protecting song. Her
functions are similar to those of the Greek Hestia, who lived in the
hearthfire, heard all oaths, and received the first offering.
Var's protection is moral rather than physical; she guards the integrity
of the spirit. Her power lies in the words we use to make our vows or
articulate our intentions. Through Var, the word is the will, and
affirmations acquire independent reality. Her radiance blazes in the
hearthfire that is the heart of the home, and she is especially concerned
with those agreements which cannot be enforced by society, the unwritten
commitments made by partners in a relationship and members of a family. Her
symbol would therefore be the hearthfire or the oathring, and she can be
worshipped by twining an oathring of sweet herbs and ribbons on which one
has written oaths which is then offered to the fire, or by passing the horn
to make one's boasts.
This band I wind, this spell I bind
to keep my oath, to pledge my troth!
Vor
Snorri tells us that Vor is "wise and enquiring, so
that nothing can be concealed from her. There is a saying that a woman
becomes aware of something (vor) when she finds it out." Her name means
awareness, the ability to learn and understand.
Vor is thus the power of intuition, the power of knowing and keeping
silence. In the outer world, she functions as the famous "woman's intuition",
the ability to interpret subtle clues in order to understand what is going
on, especially those things which men would hide or do not know how to put
into words. On the inner planes, she is expanding awareness, our guide to
the unconscious realms where we keep all that we have forgotten, or
suppressed, or been afraid to see. She reveals what is hidden, and teaches
us how to interpret the symbolic language of our dreams. She is seen in
shadowy draperies, and her token is the dark veil. The working appropriate
to Vor is the development of intuition through the interpretation of
dreams, seidh, or meditation.
Syn
In order to open up enough to use our intuition, we need to feel
protected. Syn is the one who guards our boundaries. In
Fensalir, she guards the door of the hall and denies entry to those who
are not supposed to enter. She is appointed as a defense in assemblies
against matters that she wishes to refute. "Syn" equals a denial, saying
no.
Syn is the one who wards the doors we need to close, whether they are the
physical doors that keep danger from entering our homes, or the gates to
our personal and psychic space. She is the power that enables us to affirm
what we know is true, and gives us the strength to "say no" to whatever
would diminish or harm us. She stands fast and endures. She can be invoked
when warding a house or sacred space, or to create a shield which can
withstand personal or psychic attack. In our meditations, she appears at
the door of Frigga's hall wearing grey and holding a staff. Her token is
the birch broom hung over the door to banish evil.
To honor her, we made our own sacred broom by binding broomstraw onto a
birchwood stock. While each woman was tying on her bundle of straw she
stated the qualities she was giving it, and all chanted:
By twig and tree
So mote it be;
By sound and spell
We bind it well.
The finished broom was then laid across the door to seal the circle
during our rituals.
Hlin
Hlin is the one who protects those Frigg wants to
save, the refuge of those who are in danger. "From this comes the saying
that someone who escapes finds refuge (hleinir)." She
represents Frigg in the lines "Another woe awaiteth Hlin, when forth goes
Othin to fight the Wolf" ("Voluspá": 52). Scholars generally agree that
her first woe was the death of Baldur. Presumably Frigg is identified with
Hlin here because in this instance she failed to protect the one she loved,
Baldur, as she will be unable to help Odin when Ragnarok comes.
Hlin provides personal protection and saves the hunted from danger; she
is the refuge of the fugitive. Where Syn's protection is defensive, that of
Hlin is more active, fighting for her favorites and spiriting them out of
danger. She is the passionate fury of the mother defending her cubs. She
protects against those who would take advantage of a woman's vulnerability
as well as physical weakness. She shields Vor. Her token is the blade or
shield. To work with Hlin, we practiced assuming her form, moving as if we
were armed and ready, and then removing the "armor" again. This ability can
be very useful when, for instance, one is walking through a dangerous part
of town late at night.
Snotra
Snotra is wise and courteous, or gentle-mannered.
"From her name a man or woman who is a wise person is called
snotr." In Old Norse, "Snot"is a name meaning
bride or lady. If one considers the social skills and rules of courtesy
necessary for a group of people to endure a long northern winter in the
confines of a turf hall, Snotra's skills shift from being a luxury to a
necessity for survival.
Snotra can be viewed as the Emily Post of the group, but her knowledge
goes beyond mere etiquette. She is the great lady, in her we find the
quality that enables one to surmount physical and social disasters. She
always knows the right thing to do, and has a profound understanding of
human nature and social relationships. She not only understands the rules
of conduct, but the reasons behind them. In her character we find gallantry
without bravado, the essence of noblesse oblige, the particular
kind of courage which enables people of character and breeding to set a good
example. Her token is a linen handkerchief.
Working with Snotra requires a serious consideration of the "rules" of
courtesy that we live by. We can start by analyzing the advice given in
"Hávamál", and then meditate on Snotra in order to suggest
additional "rules of conduct" that a Norse woman might need ("Don't wake
your man up early to help with Spring cleaning when he's been drinking
the night before...")
Gná
Finally, we have Gná, who is Frigga's messenger. She
travels over sky and sea on a horse called Hoof-flourisher (Hofvarpnir)
whom Skinny-sides (Hamskerpir) begot on Fence-breaker (Gardrofa), carrying
Frigg's words throughout the worlds. Snorri says that her name means to
soar or tower, but it may also be related to a word for the sound of a
horse's neigh.
Gná is Frigga's power to transcend all worlds; Hoof-flourisher
carries her as Sleipnir carries Odin. She is freedom, the ability to soar
beyond limitations. She bears the thought of the goddess to other realms and
brings back information. Through Gná we communicate with the goddess
and hear her replies. She might also be viewed as the power of astral
travel. She appears radiant and vigorous, and her token is a statuette of a
horse. Since Gná is Frigga's interface with the world, to honor her,
we too must take the goddess with us from the hof and hearth to the street
and the workplace. In her own person Frigga may be the secret center, but
through Gná, she rides with us as we go out into the world.
A Blót for Frigga
A basic structure for a blot to honor Frigga and her maidens goes as
follows:
Purification
Hallowed herbs all ill dispell
(fan with recels)
As fuel on the fire,
As smoke on the wind.
Boundaries
With broom of birch I sweep this circle round
(sweep widdershins)
Within this space no evil shall be found
(lay broom across door)
With strength of Syn I guard the door
(circle clockwise with knife)
Hlin's help now wards each wall
Peace and protection I invoke
for all inside this hall.
Balancing
Nordhri and Sudhri, Austri and Vestri
(face N, S, E, and W)
Dwarves in all directions dwelling,
From the center here we summon,
Watchers of the world, now ward us.
Hail, and be welcome.
All: Hail, and be welcome!
Fensalir Song
Between the worlds with spirit sight,
The geese are crying
Women together wearing white
We wend from Midgard through the night
The reeds are sighing
Landwights bless the way we go,
The geese are crying
Disir help your children grow
for Women's wisdom we would know,
The reeds are sighing
Long lost the path that we would find,
The geese are crying
Through trackless marsh our way we wind
With hallowed heart and mirthful mind,
The reeds are sighing
Among salt-meadows stands a hall,
The geese are crying
Strength and grace in every wall
And room within to welcome all,
The reeds are sighing
All hail the queen who rules within,
The geese are crying
She takes the twisted fates we spin
And weaves us all into one kin,
The reeds are sighing
Honor Frigg
Improvise a prayer or say:
From the darkness of earth you arise,
Fjorgvin's first daughter,
Bending like the birch tree
at the bounds of the glacier.
You are the stillness at the heart of the world,
you are its silence.
Rams with white fleeces
roam free round your dwelling:
In your hall stands a loom;
Norns spin the thread for your weaving.
It is warped with the fates of the world,
Only you see the pattern.
You sit at the head of the hearth,
twelve maidens blaze around you,
Sparks spun from your brightness.
In their faces you are reflected;
You are all the women of all the worlds,
you are the Beloved.
Giver of Law are you,
and High Seat of Sovereignty.
Allfather counsels kings,
but it is you who choose them.
You teach magic to queens;
you give names to the nations.
Golden the god you gave birth to,
but Laufey's child betrayed him.
Your son will return
when all else you love is ended,
All this you know,
but you say nothing.
All-mother, around your altar now we are gathered,
Women together, wanting your wisdom,
Holy one hearken, hasten to help us.
(light center candle)
These are the faces of the goddess
(light one votive with each name)
candles lit from her hearthfire,
water flowing from her well:
Saga ... who knows the names of the ancestors and all the old tales;
Eir ... the silent, child of Audhumla, ancient healer;
Gefion ... who gives before we even know our need;
Fulla ... who guards the secret of the mysteries;
Sjofn ... the one who inclines the heart to love;
Lofn ... giving us permission to follow our dreams;
Sin ... our advocate, who wards the doors we need to close;
Hlin ... the protector who shields us from harm;
Var ... who hears all oaths by the holy hearth;
Vor ... who knows all secrets, expanding awareness;
Snotra ... the wise one, who always knows what to do;
Gná ... who soars high carrying Frigg's words throughout the worlds.
Working
In this section one of the Asynjur is honored. The Frigg chant may be
adapted by replacing the name with that of the aspect in question.
Frigga (Saga, etc.)
Be welcome to our hall,
Gythja, oh hear us calling
Beloved, to us we bid thy blessings bring
And hearken to our singing
You may choose to work with the goddess you are calling by the activity
or spell suggested in the discussions above. When you are finished, you
can make personal contact with the deity through a meditation.
Begin the meditation by asking Lofn to give permission. After the
meditation, share the information you have gained.
Sit or lie down in a comfortable position. Relax, make your breathing
regular, and close your eyes. Visualize a marsh, with solid hummocks of
land scattered among the reed beds. On some of the bushes, tufts of white
wool flutter in the breeze. These mark the safe path through the wetlands.
Follow it carefully until you come to the salt meadoe where Frigga's sheep
graze.
Beyond it you see Fensalir, its timbers weathered to silver grey. Sin
guards the door, barring the way with her broom. You must explain your
purpose in coming to the hall before she will admit you. Inside, you find
yourself in a mud-porch, where you can leave your coat or cloak. It is
separated from the interior by another door. Here, you must ask Lofn to
unlock the door and let you in.
Inside you see a central hearth. Sometimes Frigga herself is here,
working at her loom. In the walls are twelve doors, each marked with the
name of one of the goddesses. Choose the one you seek and go through. Each
door leads to the chamber or country of its goddess.
Observe what you find there, and, if you encounter the goddess you seek,
ask what she thinks you need to know. When you are finished, return through
the hall, thanking Lofn and Sin as you depart, and retrace your steps
across the meadow and through the marshes.
Quicken your breathing, become aware of your surroundings, and open
your eyes.
Celebration
Pass the horn or share appropriate food and drink, such as birch beer
and rye crackers.
Farewells
Thank Frigg and the Asynjur.
Returning to the World
Let us now thank the Powers which have protected us:
Nordhri and Sudhri, Austri and Vestri,
(face N, S, E, and W)
dwarf-kin, we dismiss you, with thanks for your kindness!
Fridhr ok farsæll.
All: Fridhr ok farsæll!
Our thanks to Hlin who held our walls
(circle widdershins with knife)
and Syn who watched the door,
(pick up broom)
The circle opens to the world
until we meet once more.
Sources:
Jacob Grimm, Teutonic Mythology I, Dover, 1966
Our Troth, ed. Kveldulfr Gundarsson, The Troth, 1993
Paul the Deacon, Origin of the Lombards, tr. James Chisholm
in Grove and Gallows, 27
The Poetic Edda, tr. Lee Hollander, University of Texas,
Austin, 1986
Snorri Sturlusson, Edda, tr. Anthony Faulkes, Everyman,
1987
Snorri Sturlusson, Heimskringla, Dover, 1990
Copyright © 2000 Diana L. Paxson. All rights
reserved.
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