Throughout time the use of narratives has allowed humanity to connect with each other expressing our cultural identity and the relationships we have with nature, each other and the spiritual world. Originally oral traditions to current literary works, the mythic stories are used as symbols of the human experience to speak to us about proper behavior within society or to tackle the nature of the universe. The creation, death and rebirth of the universe myth of Nordic culture gives us a narrative that envelops our imagination and provides deeper insight to what it means to be human. The myth acts as a guide to our emotions and offer explanations to never ending questions of who we are, where do we come from, why is the world the way it is and what lies beyond the journey of death.
This creation story is as intense as its people and the environment in which they live. Set in a land of fire and ice they come together to create Midgard. Much like the natural setting of Scandinavia and the Nordic islands that come together in Glaciers, volcanoes, dense forest, raging rivers and impenetrable snow peaked mountains (Wilkinson, 2009). Niflheim(fog home) depicted in ice and snow of the north and Muspelheim (destroyers’ home) of fire and flames in the south set the stage for Nordic creation. This intimate relationship between man and nature brings forth collective unconscious archetypal themes seen throughout multiple cultures, times and religions consisting of Giants, floods, sole survivors after the destruction and great world trees.
“The first world to come into existence was Muspelheim (destroyers’ home). It is a hot, bright, flaming world in the southern part of Ginnungagap and it sends forth sparks and glowing embers. It is guarded by the giant Surt, who possesses a flaming sword.” Third said, “The second world to come into existence was Niflheim (fog home), in the northern part of Ginnungagap. In the middle of Niflheim is a spring called Hvergelmir (bubbling cauldron), from which eleven fast and fearsome rivers arose and flowed far from their source. The foamy venom from their waves hardened and turned into ice. As it cooled, a drizzling mist arose from the venom and fell upon the firm ice, forming a second layer of heavy ice over the first. All this ice makes Niflheim cold, foggy and harsh” (Rosenberg, 2001)
This depiction gives rise to why the Nordic people believed that the Gods do not protect humans from the dangers of living. (Rosenberg, 2001) The battle of light and dark here is the entrance to good and evil and further depicted as these two worlds give rise to Ymir a frost giant created from melted ice. “foam venom” making him wild, fierce and evil. The flood archetypal theme is found twice in this creation myth, in the beginning giants are threats from both worlds, and creators of evil creatures frost giants and the opposing force the Gods, that bring about the first flood in the destruction of a first race and then a period of rebirth with the formation of the earth with Ymir’s body. At the ending Surt (destroyer) brings fire and destruction of the known world and everything falls into the sea. This relates not only the cyclical pattern of nature but also to the fear of cataclysmic effects of volcanic eruption with lava destroying everything in its path to then drain into the sea, the flood and cleansing of the world. This notes a duality of nature to provide or take away life. Because Ymir was considered evil this inspires reasoning of why the world is cruel and hard, from fire and death comes a rebirth of life through the wreckage pitting humans in a constant battle with nature for survival.
Another important theme within this myth is Yggdrasil, or World tree. Much like other myths and cultures trees represent a symbol of life, death and rebirth. Trees could be equally important due to its valued resource for heat, shelter, protection and advancement via weapons and materials for expansion (boats). Material representations can be regarded as ‘concrete symbols’, linking function and meaning in different ways. In that sense, there can be complex connections between the mental world and the experienced human world. This means that, in relation to the Old Norse world tree, there may have been complex interactions between mythological trees, real trees, and representations of trees. (Andrén,2014) The connection to nature and the mysteries of life are rife throughout this creation myth, with three roots holding the three worlds ( one of Gods, one of frost giants, and one of ice), each are tied to three springs that feed these worlds that support the tree of life. Water is essential to life, and the myth ties such importance to water also to fate of man in past/present/future, wisdom and understanding which come at a high cost, and a greater source that feeds all rivers which could show mode of something larger than one’s self and the need for community.
Nature is extreme in the Nordic world and has influenced the culture and societal roles depicted through its heroes, villains and the afterlife. The belief we were created from trees: men out of ash and women out of elm which further leads to the role of nature and societal role. The world tree and man are both Ash tree, hinting at the role of the male is to support his world, while woman is made from elm. However, women still hold great value in this society as they are depicted as fate maidens whom “determine the lives of all human beings and seal their fate, are Valkyries whom escort fallen warriors into Valhalla. This gives us insights that women’s role in life and death are mirrors of birth and the cycle of life, for they escort the dead warrior and give birth to new ones. (Monsters & Myths, 2017)
The heroes and villains in this creation myth provide insight to the thoughts and values of the culture. Odin, Thor, Balder and Frey are praised due to their connection to adventure (Odin), strength (Thor), Wise and Good (Balder), fertility (Frey – for both human and fields) while trickster and evil beings contain Loki whom lies and cheats, and Frost giants whom are considered evil creatures. Frost Giants can be lead back to fear and uncertainty of the wild as projections of the threat of winter bringing forth ice and snow that kill crops and hardship of survival
Warrior gods and Ragnarök act as a model to account for natural human behavior of violence that arises out of our most volatile emotions of love, hate, jealousy and need for acceptance. These emotions act as a driving force for change and revolution through war and raiding to gain respect and wealth to validate these basic emotions. Norse warriors strive to emulate the all-father Odin in order to reach Valhalla and fight with him. If we tie this with social economical need within our humanities social pack structure the lure of Valhalla spreads a hope to wealth/warmth and feast against the trials of famine and winter.
“Odin’s golden-bright Valhalla (hall of the slain). It is roofed with spear shafts and golden shields. Valkyries (choosers of the slain), the valiant daughters of Odin, ride down to Midgard to award victory to certain warriors and to choose those who are destined to die. They bring the dead warriors up to Valhalla to fight on the side of the gods against the giants when Ragnarok arrives” (Rosenberg, 2001)
“Every day the dead warriors entertain themselves by fighting one another, eating an endless supply of boar meat, and drinking endless cups of mead”(Rosenberg, 2001)
“Hel is a grim creature. Hunger and Famine are her companions. People who die from old age or disease live with her behind high walls in the land of Niflheim” (Rosenberg, 2001)
This ties to our need for something greater dispelling our fear of mediocrity, push forward the cultural ideas of glory in battle leads to an honorable death, that strength and courage will be rewarded with endless battle games bringing levity and a calmer demeanor when faced with the perils of battle and the uncertainty of death. The fact that the gods and man both fight and fall in battle shows the inevitability of death and a final inescapable fate. So, facing the fear of death and going out in battle perpetuates the warrior culture. This fate is attributed to few as the underworld is much darker and forbearing, ruled by the queen Hel.
The Nordic myth and themes are not bound to ancient times but are often reflected in some of the most popular modern works today. Our need for narratives in which to guide us on how to manage our emotions, connect with our loved ones, and face our inevitabilities are how modernity uses familiar characters and place into a new light and perspectives of challenges we face today. Netflix version of Ragnarök still depicts our struggle with nature in the contents of climate change and uncertainty of our survival, as it depicts the plights of life are not far different then than now. Marvels version continues to depict the traditional Campbellian hero characteristics and consequent journey on ideal character qualities of strength and dependability, while protecting those from evil. Themes that good life equates to long, wealthy and famous while evil/destructive confer short, poor and unfortunate lives still ring true within our culture.
Mythic stories attempt to make sense of our perceptions and feelings within our experience of the world (Johnson, 2018) and through natural world and wilderness we experience emotions tied to the wild of being of dangerous and chaotic as well as natural and free. This duality in nature mimics the duality within ourselves that brings forth our natural state attaining both excitement and fear. This drives the narrative while igniting within us to view fear as to face everything and rise instead of forget everything and run.
