Völundarkviða

Wayland Smith was a legendary figure in Germanic culture. The earliest and most-detailed origin for his legend is in the Völundarkviða (Old Norse: "The lay of Völund"), part of the Poetic Edda.

Wayland (Völundr) was the son of the King of the Finns; he had two brothers, Egil and and Slagfiðr. In one version, the three brothers spend nine years as lovers to three Valkyries. In one version, Wayland marries the Valkyrie Hervor and has a son, Heime. However gives him a ring before leaving him. 

Wayland was a master craftsman who gets captured while sleeping by King Niðhad of Sweden and forced to forge things for him. Niðhad cuts Wayland's hamstring tendons in order to prevent him from escaping (and curiously making him similar to Hephaestus, the god-smith of the Greeks). The ring given to Wayland by Hervor is given to King Niðhad's daughter, Böðvildr.

In another Greek parallel (I'm not saying these are intentional, but they do post-date the Greek myths), Wayland fashions a pair of artificial wings for himself and plots revenge. (The illustration is from Myths and Legends of All Nations by Logan Marshall.)

He kills the king's sons and makes items from the sons' body parts. He fashions goblets from their skulls, jewels from their eyes, and a brooch made from from their teeth. He sends these as gifts to Niðhad, Niðhad's wife, and Böðvildr. Wayland then seduces/rapes Böðvildr when she comes to him to repair the ring she was given. Wayland then flies to the king, explains what he has done, and flies away. Böðvildr appears to her father and claims she is pregnant, and that she could not resist Wayland because he is too strong.

The plight of Böðvildr is mentioned in the Anglo-Saxon poem Deor, mentioned in the Exeter Book. It is used (believe it or not) as an example of things being "not so bad." I'll explain more tomorrow when I share the stoicism of Deor.

Valkyries

Everyone is probably familiar with the valkyries, the "choosers of the slain" in Norse legend. They didn't just carry the dead to Valhalla, however. Norse soldiers who died in battle had two possibilities: Valhalla or Fólkvangr.

Fólkvangr (Old Norse "folk field") was the domain of Freyja, Odin's wife and goddess of love, beauty, fertility, sex, war, gold, and seiðr. (Going forward, when you see the character ð, pronounce it as a voiced th, as in these.) There she sits in her hall Sessrúmnir (Old Norse "seating room"). Besides warriors, Egil's Saga (composed in the 13th century) has a non-warrior woman remarking that she will not taste food again until she dines with Freyja.

The other half of slain soldiers are carried by valkyries to Valhalla. There they are called the einherjar (Old Norse "once fighters") who prepare for the final battle at Ragnarök. Valkyries in Valhalla serve mead to the einherjar.

Visual depictions of valkyries are ... vague? We have Viking Age art with women in it that could be valkyries, but we just don't know. Silver amulets with women holding drinking horns are numerous, especially in graves. A silver-gilt figurine found in Denmark and dated to 800 CE shows a female with bare arms holding a shield and sword. When you look for females carrying drinking horns, you will find them all over Northern Europe, in metal and carved on rune stones.

Outside of Scandinavia, the Anglo-Saxons also had a similar concept. The Old English word wælcyrge might have been a loan-word from Old Norse or an independent idea. The charm "For a Swarm of Bees" seems to compare a swarm of bees to a ride of the valkyries.

How did the idea of female choosers of the slain arise? We'll never know for certain, but some scholars think they were originally demonic entities who swarmed over the dead in battlefields. As concepts shifted and battle became more glorified, warriors were honored with an afterlife. Getting to that afterlife required a mechanism, and the demonic entities connected with death became noble entities carrying fallen soldiers to their reward. They go from Furies to Norns, involved in the fate of warriors.

It is likely that poetry helped re-shape the idea and function of the valkyries. Njal's Saga is an Icelandic saga that describes events between 960 and 1220. It describes an incident in which a man secretly observes valkyries at a loom, weaving and singing about who will die at the Battle of Clontarf (Dublin, 1014 CE). They then ride off, singing "start we swiftly with steeds unsaddled—hence to battle with brandished swords!"

If you were to search, say, Facebook for the name "Valkyrie," you would find several. Whether that is a given name or a nickname the person has chosen for herself isn't clear. I personally know an actual "Valkyrie" who reads this blog. Hi, Kyrie!

And now for something completely different: the Battle of Clontarf. See you tomorrow.

Bee poetry?

I remember the character Queenie in the TV show "Lark Rise to Candleford" (based on the partially autobiographical books by Flora Thompson) speaking to several hives of bees, saying "Bees, bees, your master's dead; I must be your mistress now." The need was to explain to the bees that the person maintaining the hive was gone so that they could mourn properly and then attach to a new owner, not just fly away to seek a new home. The illustration here is "The bee friend" by Hans Thoma (1839-1924). He is speaking to his bees, because tradition holds that the bees must be informed of important events.

Bees were important for wax and honey, and a hive/colony could be kept going for years, with a strong bond developing between the family and the bees. You would not want the bees to have a reason to "swarm" and leave, so keeping them "in the loop" was important. Besides just "telling the bees," you could use a spoken charm to try to keep them.

One such charm was the Lorsch Bee Blessing, written down (we think) in the 9th century in Old High German and used to keep the bees from leaving. Translated, it says:

Christ, the bee swarm is out here!
Now fly, you my animal, come.
In the Lord's peace, in God's protection,
come home in good health.

Sit, sit bee.
The command to you from the Holy Mary.
You have no vacation;
Don't fly into the woods;

Neither should you slip away from me.
Nor escape from me.
Sit completely still.
Do God's will.

There also exists "For a Swarm of Bees," an Anglo-Saxon charm intended to prevent the bees from swarming and going to a new location.

Settle down, victory-women, sink to earth,
never be wild and fly to the woods.
Be as mindful of my welfare,
as is each man of border and of home.

Clearly each poem/charm indicates how important a thriving hive was for the person needing the wax and honey.

The "victory-women" of the first line of "For a Swarm of Bees" is curious. The Anglo-Saxon word is sigewif  and Jacob Grimm (of Grimm's Fairy Tales) and other scholars think it may be drawing a poetic comparison to the valkyries of Norse myth. Perhaps the bees are compared to valkyries because of their weapon (sting) and the way they ride to battle (swarm)?

Speaking of Valkyries, I mentioned one once when discussing the real historical figure portrayed in the 2013 TV show The Vikings. I think the valkyries need a little more explanation.