9.75 Inch Odin Norse God Statue Mythology Figurine Figure Deity Viking Decor

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Thorpe, Benjamin (1851). Northern Mythology, Compromising the Principal Traditions and Superstitions of Scandinavia, North Germany, and the Netherlands: Compiled from Original and Other Sources. 3 vols. Volume 2 Scandinavian Popular Traditions and Superstitions. Lumley. OCLC 314195407 Odin was adapted as a character by Marvel Comics, first appearing in the Journey into Mystery series in 1962. [96] Sir Anthony Hopkins portrayed the character in the Marvel Cinematic Universe films Thor (2011), Thor: The Dark World (2013), and Thor: Ragnarok (2017). In the prose narrative of Solomon and Saturn, "Mercurius the Giant" ( Mercurius se gygand) is referred to as an inventor of letters. This may also be a reference to Odin, who is in Norse mythology the founder of the runic alphabets, and the gloss a continuation of the practice of equating Odin with Mercury found as early as Tacitus. [35] One of the Solomon and Saturn poems is additionally in the style of later Old Norse material featuring Odin, such as the Old Norse poem Vafþrúðnismál, featuring Odin and the jötunn Vafþrúðnir engaging in a deadly game of wits. [36] Odin and Frea look down from their window in the heavens to the Winnili women in an illustration by Emil Doepler, 1905 Winnili women with their hair tied as beards look up at Godan and Frea in an illustration by Emil Doepler, 1905 Odin wasn’t technically “A God of Wisdom” – that title belonged to Mimir. However, after Mimir’s death in the aftermath of the Æsir-Vanir War, Odin became the “recipient” of Mimir’s wisdom. There are two different myths for how that happened: As mentioned above, Odin’s name can be translated as “Master of Ecstasy.” His Old Norse name, Óðinn, is formed from two parts: first, the noun óðr, “ecstasy, fury, inspiration,” and the suffix -inn, the masculine definite article, which, when added to the end of another word like this, means something like “the master of” or “a perfect example of.” The eleventh-century historian Adam of Bremen confirms this when he translates “Odin” as “The Furious.” [1] Óðr can take countless different forms. As one saga describes Odin, “when he sat with his friends, he gladdened the spirits of all of them, but when he was at war, his demeanor was terrifyingly grim.” [2]

The Norse saw their gods as the vital forces that held the cosmos together. As the “Allfather,” Odin was the vital force of vital forces – the “breath of life,” or something almost akin to Nietzsche’s “Will to Power.” It’s surely no accident that Odin played a greater role than any other god in the creation of the world. Without his vivifying ecstasy, and the enchantment, insight, and clarity that it brings, life – and in particular a life worth living – would be impossible. Other Germanic cognates derived from *wōðaz include Gothic woþs ('possessed'), Old Norse óðr ('mad, frantic, furious'), Old English wōd ('insane, frenzied') and Dutch woed ('frantic, wild, crazy'), along with the substantivized forms Old Norse óðr ('mind, wit, sense; song, poetry'), Old English wōþ ('sound, noise; voice, song'), Old High German wuot ('thrill, violent agitation') and Middle Dutch woet ('rage, frenzy'), from the same root as the original adjective. The Proto-Germanic terms *wōðīn ('madness, fury') and *wōðjanan ('to rage') can also be reconstructed. [3] Early epigraphic attestations of the adjective include un-wōdz ('calm one', i.e. 'not-furious'; 200 CE) and wōdu-rīde ('furious rider'; 400 CE). [10]

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Gimbutas, Marija; Robbins Dexter, Miriam (1999), The Living Goddesses, University of California, ISBN 978-0520213937 Thus, as a war-god, Odin is principally concerned not with the reasons behind any given conflict or even its outcome, but rather with the raw, chaotic battle-frenzy (one of the primary manifestations of óðr) that permeates any such struggle. First off all, they note that there is no scriptural evidence, which points to an identification of the seat of Odin – Lidskjalv – as a throne per se. Rather, it might be understood as another name for Valhalla and not a chair or throne set apart. Rather, Odin would have been seated at a bench in the hall marked out by the ornamental posts, the ondvegissúlur. Secondly the arguments concerning the female character of the dress and the inconclusive understanding of the ring around the mouth as a moustache leads in another direction. If you only know Odin from Anthony Hopkins’ portrayal in the MCU movies you may be confused by this. How can an old, wise, and white-bearded man be viewed as a master of ecstasy? The key difference is that what we understand as “wise” today and what the Norse viewed as “wise” a thousand years ago are two very different things.

Steuer, Heiko (2021). Germanen aus Sicht der Archäologie: Neue Thesen zu einem alten Thema. de Gruyter. The figure of Odin is a frequent subject of interest in Germanic studies, and scholars have advanced numerous theories regarding his development. Some of these focus on Odin's particular relation to other figures; for example, Freyja's husband Óðr appears to be something of an etymological doublet of the god, while Odin's wife Frigg is in many ways similar to Freyja, and Odin has a particular relation to Loki. Other approaches focus on Odin's place in the historical record, exploring whether Odin derives from Proto-Indo-European mythology or developed later in Germanic society. In the modern period, Odin has inspired numerous works of poetry, music, and other cultural expressions. He is venerated with other Germanic gods in most forms of the new religious movement Heathenry; some branches focus particularly on him.

Is the silver figurine from Lejre representing Odin? Freya? Or perhaps a völva, a Viking sorceress? Many interpretations have been put forward

Polomé, Edgar Charles (1970), "The Indo-European Component in Germanic Religion", in Puhvel, Jaan (ed.), Myth and Law Among the Indo-Europeans: Studies in Indo-European Comparative Mythology, University of California, ISBN 978-0520015876 The old Nordic and Germanic people viewed passion, ecstasy, and ferociousness as the qualities that glue the universe together and lead to the creation of life. So, naturally, they ascribed these qualities to the wise Allfather god of their religion. Odin as a God of Kings and Criminals Hirschfeld, Max (1889). Untersuchungen zur Lokasenna, Acta Germanica 1.1, Berlin: Mayer & Müller. (in German) The Old Norse theonym Óðinn (runic ᚢᚦᛁᚾ on the Ribe skull fragment) [2] is a cognate of other medieval Germanic names, including Old English Wōden, Old Saxon Wōdan, Old Dutch Wuodan, and Old High German Wuotan ( Old Bavarian Wûtan). [3] [4] [5] They all derive from the reconstructed Proto-Germanic masculine theonym *Wōðanaz (or *Wōdunaz). [3] [6] Translated as 'lord of frenzy', [7] or as 'leader of the possessed', [8] *Wōðanaz stems from the Proto-Germanic adjective *wōðaz ('possessed, inspired, delirious, raging') attached to the suffix *-naz ('master of'). [7] Woðinz (read from right to left), a probably authentic attestation of a pre-Viking Age form of Odin, on the Strängnäs stone. This has prompted Elisabeth Arwill-Nordbladh to a detailed study of other figurines from the same time and milieu. She has concluded that the archaeological material shows that the ocular theme was part of various performative practices connected with prophesying and “future” gazing and not just a feature clinging to the myths about Odin.

One of Odin’s countless names is “Allfather” (Old Norse Alfaðir), “because,” according to Snorri Sturluson, “he is the father of all of the gods.” [20] And, as we’ve already noted, Odin is listed as the divine ancestor of countless families from all over northern Europe. He’s simultaneously an Aesir god, a Vanir god (the Vanir god Odr is only an extension or transposition of Odin), and a giant (his mother is Bestla, one of the first frost-giants). One Old Norse poem even identifies him with önd, the breath of life. [22] Odin is also associated with the divine battlefield maidens, the valkyries, and he oversees Valhalla, where he receives half of those who die in battle, the einherjar, sending the other half to the goddess Freyja's Fólkvangr. Odin consults the disembodied, herb-embalmed head of the wise Mímir, who foretells the doom of Ragnarök and urges Odin to lead the einherjar into battle before being consumed by the monstrous wolf Fenrir. In later folklore, Odin sometimes appears as a leader of the Wild Hunt, a ghostly procession of the dead through the winter sky. He is associated with charms and other forms of magic, particularly in Old English and Old Norse texts.Odin depicted on a monument from about the 9th century in Gotland Odin, in his guise as a wanderer, as imagined by Georg von Rosen (1886) Odin’s fate during the great battle is to be killed by one of Loki’s children – the giant wolf Fenrir. Odin knows his fate beforehand which is why he had the wolf chained and also why he had gathered the souls of the greatest Nordic and Germanic heroes in Valhalla – to try and avoid that fate.