Nine Keys to the Text: Using the Valknot to Lead to a Deeper Understanding of Heathen Writing and Poetry with the Example of Lokasenna
By Jennifer Culver
Most people would agree that the heathen path is not an easy one. Few traditions welcome their newcomers with a horn and suggested reading list filled with historical and academic references. For some, this is a daunting thing. People come into heathenry with various backgrounds and interests. Credentialed degrees aside, many do not know how to read higher-level texts. When the average newspaper is written at a middle school level and sound bites are being treated as more information than some want to know, approaching some of these texts can be intimidating.
This piece is focused on helping readers evaluate the lore itself – the poetic and prose Eddas, the sagas, and other primary sources within heathenry. Using standard literary techniques with a heathen slant, more can be gleaned from the lore and the reading can become a more fulfilling, and possibly enjoyable event. The basis of these techniques and philosophy behind it will be explained first.
The human brain is an organ with a natural function – its job is to learn and the brain does this with an amazing capacity to distinct patterns, make approximations, store many types of memory, learn from experience and create and synthesize into a new form[1]. Content is inseparable from context and trying to remove this does not make the connections the brain needs to make a lasting impression. Just as wyrd shows in outward ways as what is becoming is harvested from what has been, our memories also alter our brain, making each brain and, therefore, each learner unique[2]. Also important, however, is the idea that the learner cannot learn alone something that s/he cannot handle. Vygotsky’s zone of proximal development details the learning process in a cooperative way in which the learner begins with material that s/he is familiar with and moves, with guidance and approximation, into building (or scaffolding) onto this material to make new connections and meaning, thereby raising the zone and creating new expectations for learning[3]. The problem within heathenry can be that many people place themselves too highly within the zone and do not see the importance of starting in an effective way.
Finding deeper meanings in literature is not a simple task. Literature is far from everyone’s favorite task. Some consider it honorable to have made it through high school without reading any of the required readings. Others take the minimum college courses for their degree and hope that they never have to see another heavy piece of literature again. Some of these people turn away from fiction forever, finding reading pleasure in academic and other informational texts. Now faced with the Eddas, this reader is faced with a struggle. Comprehension is usually not the problem – many can comprehend the basic narrative – but analysis and evaluation is lost. Having never applied reading strategies effectively, these readers are faced with knowing the surface level and then hearing others interpretations of text, only to say, “Wow! How did you get that?” Left feeling inept and inadequate in something as crucial as finding application and meaning of faith, the learner then returns to the texts, sometimes with a hostile and frustrating bent, only to leave again with surface level comprehension. They have “downshifted”, a process that happens when the brain feels helpless[4]. Learning does not occur when one has downshifted, but in a state of “relaxed alertness” (low threat/high challenge) for then the brain is ready to enter into new connections and outcomes. Too much downshifting can make the learner revert to the old ways, feeling completely inadequate to try the new material[5]. The Eddas and lore should be open to us all.
The technique below will follow brain-based learning, recognizing that the search for meaning is innate and occurs through patterning and organizing information[6]. Learning occurs when certain conditions are present for the mind. Cambourne lists the conditions of learning as: immersion, demonstration, engagement, expectations, responsibility, employment, approximations, and response[7]. Immersion, the first condition, can be the hardest met out of a classroom setting, but can be done in what is referred to as “orchestrated immersion”[8]. Immersion is the state of being saturated by what is to be learned[9]. Orchestrated immersion for the self-learner can be done. It involves taking the information off the page and bringing it into life as reading, writing, speaking, and acting cannot be separated. Finding groups of others to read and reflect with would be optimal, but is not always possible. Demonstration refers to the ability to observe actions and artifacts[10]. Just as one learns how to make a sandwich by watching others, the best way to learn how to delve deeper into the lore is to see how others have done the same. Engagement, the next condition, asks for active participation from the reader[11]. It is not enough to read and note the interpretations of others; learning begins to connect when the brain is “actively processing” and reflect its own take on the material[12].
Getting the learner more involved leads to expectations, the next condition[13], in which specific outcomes are laid out. This can be intrinsically done or externally. When reading and studying the lore, expectations can be made on the self to work through a certain piece within a certain time. Once the expectation is laid out, the learner must accept responsibility for the task at hand. In working towards meeting these expectations, the learner needs to know that s/he can take risks. This is where approximations come in. Some connections that are first made are later found, upon discussion with others or in further reading, to be inaccurate at best. For example, one new, over-enthusiastic reader decided that Odin usurped Tyr because the gods lost faith in his ability to lead without his hand. How the group handles this approximation is crucial. Cambourne suggests that enthusiasm should be warmly received and there should be no anxiety. This is not saying that misconceptions should be allowed to remain, but the handling is delicate. For as the learner is working on “creative elaboration”[14] and trying to contemplate and reperceive the information, the learner could downshift without the appropriate resources or with too much negative criticism. Employment means that the learner has a chance to “use” the information. Be it finding practical applications for a heathen life or a chance to express ideas on a heathen mailing list, if the information is not “used”, it is lost. Finally, response refers to the feedback or information from the world to the learner[15]. This includes getting feedback from others more knowledgable in a timely, relevant, and nonfriendly way[16]. This makes literacy an activity and the text a piece of reality that, once internalized, can make true meaning and make a difference in a life[17].
While this sounds difficult, the interesting fact is that proficient readers do this naturally. Cambourne found that some students who were not proficient in some things were learning in other arenas. Video games, for example, contained within them the conditions for learning in a non-threatening way[18]. Proficient readers naturally do all or some of the following cognitive strategies[19]:
· Activate relevant, prior knowledge (schema) before, during and after reading the text to evaluate and store new information (Pearson, et al. 1992)
· Determine the most important ideas and themes in a text (Baumann, 1986)
· Ask questions of themselves, the authors, and the texts they read (Brown and Palinscar 1985)
· Create visual and other sensory images from text during and after reading (Pearson, et. al 1987)
· Draw inferences from text to make critical judgments, draw conclusions, and form unique interpretations (Anderson and Pearson 1984)
· Retell or synthesize what they have read, attending to the most important information and clarifying the synthesis itself (Brown and Day 1983)
· Utilize a variety of fix-up strategies to repair comprehension when it breaks down to solve a given problem in a given reading situation (Garner 1987)
While readers may not be aware of the techniques that they naturally use, metacognitive thinking can assist in helping a reader find out how s/he reads best and; therefore, learns more material[20]. These strategies are incorporated into the valknut strategy, which will be explained.
The first triangle: Comprehension
Before one can get to higher level thinking, basic comprehension must be clear. Comprehension is the building block for further analysis and evaluation. The first triangle, therefore, is based on comprehending the piece at hand.
· Pre-reading – This first step must be taken on before the reader even delves into the text. It is meant to access prior knowledge. Pre-reading can occur in many ways. A reader inherently brings with him/her prior knowledge and experience, and accessing this can help with comprehension[21]. This can come in the form of keeping a chart such as the one below to help the reader keep focus:
K
(what do I already know) W (what do I
want to know) L (learned)
Filling in this “K” column is searching our brain for prior knowledge and finding a way to relate it to what we are about to read. This helps to “activate mental files” before jumping into a text cold[22].
· Connecting – While reading the text, the reader should never stop thinking. Less proficient readers make reading a passive activity, forcing the text to do too much of the work. Other readers actively read informational texts but do not know how to do this with literature. Creating connections while reading forces the reader into a more metacognitive state. There are a few ways to do this. One way is to read with post-it notes. This is called stop and jot. While interacting with the text, write down significant insights and connections to the text on a post-it and place it near the relevant information. This is especially good for library and other borrowed books that cannot be marked in for some reason. Some insights could include revelations of personal connections, “This reminds me when ………..”, textual connections, “I saw this in ………” and global connections relating to character and theme, “The ideal of hospitality is shown here by………….”[23]. There is no room on a small note for an essay, and that is also the beauty of this technique. It is meant to be meaningful but not distracting. Another way to connect is with a dialectic journal. A dialectic journal is a notebook that a reader keeps with the text. On one column is a notation from the text. Next to it in a corresponding column is the insight that caused the reader to note the passage. It would look something like this:
Passage
Notes Response
“… I know that I hung on a windswept Why did he do it?
Tree/Nights of all nine….” Why did he have to
stay there so long?
The number 9 appears
A gift for a gift
As you can see, the responses can vary. They can contain questions, reflections, observations, etc. This technique is great for readers who have a hard time returning to the text and finding relevant points to discuss. With a dialectic notebook, the points are already there. A third way of making connections is actually marking in the text: highlighting with notations or metacognitive text marking. Text marking can include symbols for different insights and points to remember[24].
· Retelling – This stage is asking for a basic summary before moving on to a deeper understanding of the text. Who were the actors? What is the plot? What is the scene (setting)? How do these things interact and shape the other within the story itself? These are parts of Burke’s Pentad and meant to take the reader into a contemplative frame of mind about the reading[25].
The second triangle: Analysis
Analysis is the second triangle in the reading strategy. One should not move to this triangle until s/he has mastered the elements of the one before it, as they should build on one another. Even though the language you are reading the text in may be English, as it has been translated by another, this step requires the reader to, in a sense, translate the text for yourself to make meaning. Dr. Rainer Schulte states that, “Applying the translator’s eye to the reading of a text changes our attitude toward the reading process by dissolving the fixity of print on a page into a potential multiplicity of semantic connections[26].” A shaky foundation in comprehension can lead to a faulty analysis. This section is to help discover not only what was said, but how the author said it and why the author chose this way to do so.
QRY ybE MY\Yh$-*zF
W{o L]O< F Here are the three triangles and main questions associated
with them on one sheet for easy use:
Before showing the strategy at work with a piece of lore,
let’s go over some troubleshooting tips. Remembering that proficient readers
stop and fix problems as they read, other readers can see themselves in the
description of the reader that plows through the text without bothering to be
sure that understanding and meaning is achieved while reading. Example of Reading Strategy – Discovering Lokasenna Finally,
the reading strategy above will be shown using Lokasenna from the Poetic
Edda. Keep in mind that some of the analysis and interpretations will vary from
person to person, as each person brings different prior knowledge and reasons
for reading. There is room for many ideas in discussing the lore, and most will
be found sound as long as there is something in the text to support the
argument. Many of the comments and insights are here as an example for
demonstration purposes.
First triangle Loki has been an Why
does Loki turn on ambiguous
character at best his friends, even his Loki at some point does oath brother? cause the death of Balder How will I know what to Loki seems to do things that
believe re: his charges? look bad at first then are not How will this help me in my heathen life? Does
the dating of this make a difference? Here I have directed the focus of
my reading to Loki’s intent and the charges he makes. I am reading (or
rereading the text in this case) to find out why he does what he does and what
he says. I also am curious to find out how I, the reader, will be able to
determine what is and is not a valid charge. This is a question that I may not
be able to completely answer just from reading Lokasenna, but some
questions are that way. I’ll return to
fill in the last column later as a reflective tool. Loki slew
Fimafeng (intro) Why? Why
would Loki care if the servant Was
being praised? “their ale I
shall mix with evil” 3 This
reminds me some of Grendel, who does what
he does because he does not like the merriment
in Heorot. Loki reminds
Odin of his Did the
gods forget hospitality or was the promise and can stay 9 slaying
enough to keep him away? Loki hails
all gods but Bragi 11 Is this
symbel? Are we seeing here clues for what
should happen when symbel goes bad? Idunn and
Gefjon try to keep This
reminds me of Weltheow the
peace 16, 18, 19 Loki
accuses Odin of letting the Many
cite this as Odin being an oath- wrong
one win wars 22 breaker Frigg tells
them to keep some Here Frigg
clearly acknowledges that some of
their less respectable of these
challenges are correct deeds
secret 25 Pattern
seems to be for Loki There
is a rhythm to this that makes me accuses,
the person wonder if
there is something more behind responds,
Loki says the intent of
this poem other than a story. more,
another chimes in Loki
accuses Freya of being a This
also seems to be a pattern among the whore
32 women –
what is the message here? Sif
approaches Loki in a more Why
does she think that she will be friendly
way 53 different?
This is something I do a lot. Thor
threatens Loki to leave The
number three is significant in the lore. four times 57,
59, 61, The first three times
Loki ignored him. It took him more than that to get Loki to leave. PLUS the
first two lines are repeated each 63 time
– this has to have deeper levels of meaning
and has dynamism inherent in it. Loki is
bound (after) Is this foreshadowing for Ragnarok? Loki
writing is the source of What
is the mythological significance of Earthquakes
(after) this
explanation? As you can see, some of the connections are personal, some
to other stories, and some to larger themes. Actors – most of the known Aesir and Vanir are
present. Some servants are mentioned, which is significant in the sense that
the killing of a servant started problems. Frey’s servants also broke into the
conversation, which I would have thought to be unusual. While some would see
this as a later piece and reflecting post-conversion attempts to stain the gods
and goddesses, Loki is being Loki according to Dumezil (Anderson). This will
also relate to purpose, which is discussed below. Scene – the scene is a feast (possibly a
symbel) at Aegir’s hall. Plot – Aegir’s feast is going well until Loki
kills a servant. He is thrown out, only to return demand to be admitted. Odin
allows for him to take a seat, but then when Loki gets a horn he begins to
insult Bragi. One by one the gods defend each other, only to be insulted in
turn. After a time, Thor shows up and has to threaten to pound him four times
with his hammer for Loki to leave. Loki is then bound for eternity with a snake
dripping venom onto him. His wife holds a cup to catch it but when she has to
pout it out, Loki writhes and this is the cause of an earthquake. As far as interrelation, there are some aspects that may be
important. Loki has always seemed to me to be the kind of figure that can dish
a lot out, and I would think that the gods would be used to that. If, however,
this were a more ritual setting, I could see that this would be completely
inappropriate. There is a personal connection here, as I have been in a symbel
where Freya was practically cursed. People may make jokes and say things
outside of ritual, but a certain form of decorum is expected within the rite itself.
The gods and goddesses here are not always acting in character, and, as
Hollander says, their “seamy” side is coming out. This shows in the plot as
they react to Loki’s insults. The ending here, as it is not in verse as the
beginning was not, may be placed to be foreshadowing for the problems to come.
Second Triangle There is also a
significant pattern here in the discourse. Someone speaks, Loki retorts, the
person responds, Loki insults further, another speaks to defend the first,
which is what qualifies the piece as a senna, or verbal duel[44]. Most of the stanzas are written in a “chant”
or “song” meter, which lulls the listener/reader a bit and then surprises
him/her with the full hit of the last line[45].
There are some stanzas; however, that are written in galdarag, which is
more of a “magic song” meter. Those stanzas are spoken by Loki and could be his
attempt to use magic and increase his power and influence[46].
These stanzas are 13, 54, 62, and 65; mainly with Thor but, as can be seen, it
does not work with him. The tone is very
hostile and tense, and could also be reflecting a mannjafriad, or
matching of heroes of sorts, a more spiritual duel in which deeds done replace
blows (such as seen in Orvarodd’s saga with Odd), with this being more to the
negative than the positive[47].
This is because of the poet’s use of Loki as the main speaker and instigator[48].
It is through Loki’s eyes that we are being told of the deeds of the gods and
goddesses, and this colors the content[49].
It is amplified in Loki’s verb choice of “mix” for their mead and harm in
stanza 3[50].
The answer given to him continues with the verbal metaphors in stanza 4 as he
is told that if he continues with his bent to cause trouble they will “wipe it
off on you”[51].
Because of the language and tone, some consider this piece mythological
invective or lampoon[52].
Part of this is because there is some sparse narration and development, but
this is really a frame for reciting information[53]. While this piece
is not typical in its internal structure, because Loki is not simply having a
dialogue with one person (such as in The Lay of Harbarth) but taking on many,
there is a predictable pattern in the discourse[54]. It is clear that Loki is not bringing out
the best of the company and exposing things at least Frigg would prefer to be
kept hidden[55] using
“myth abbreviations”[56].
Because this is poetry, looking at sentence structure will not always get as
much meaning as if it were prose. For other
figurative language, there are specific instances to look at. On stanza 6, Loki
is called Lopt (Hollander translates this as possibly the Lofty [57]).
Odin also calls him the Wolf’s Father in stanza 10, referring to Fenris. Odin
is referred to as Vithrir (possibly lord of the weather) in stanza 26. He is
also referred to as Sigfather (father of victory) in 58. Uses of certain forms
of kennings are rare in the Poetic Eddas[58],
but there is one interesting use here in stanza 57 when Thor threatens Loki the
first time “thy shoulder-cliff/shall I cleave from thy neck.” Loki also turned himself into a salmon, a
fish that swims upsteam, which may symbolize that even he knows the futility of
trying to escape. It has also been noted that salmon are afraid of thunder,
which is also significant[59]. Note: Going to eddic commentary is
one thing that can be done to keep a reader from feeling that s/he is not able
to understand deeper insights. This is a solution to the pragmatic problems
listed above. As can be seen, several scholars have interesting views on the
structure and symbolism of the piece and it is good information. While I did
not agree with one, I still considered the opinion and thought about why I felt
differently. While part of the purpose of this piece
may have been to enumerate bits of lore and myth, this does not appear to be
the whole purpose. As can be seen in the references above, Loki does not always
tell the whole story in the bits that he is speaking. This makes some things a
matter of perspective. Of course, some feel that part of the reason that Loki’s
arguments are effective[61],
as he is citing real instances for much of his flyting. Some of the reasons for this has been discussed
already, the idea that the piece was created to relate pieces of the lore in a
frame context. Chisholm, though, in his writing after his translations,
encourages us to look deeper. He writes that the pieces have a narrative, natural,
and initiatory level. We have analyzed the narrative and now need to go deeper.
The
frame story that the author creates to enumerate the lore is an interesting
one, a ritual feast. The idea of the “feast of the gods” has been discussed by
scholars such as Dumezil and breaks down into the following structure[62]: The idea that feasts in the Norse
tradition were ritual events is not unique to Lokasenna. There is a
passage in Heimskringla regarding Hakon gothi’s attempts to introduce
Christianity to the farmers[63].
Banquets and feasts were meant to be solidarity-inducing events centered around
the drink, the “essence of worship”[64].
This also provides context to Grimnismal. If this was to show the structure and drama
present at a divine feast, this would explain the repetitive patterns and other
speeches in the text. This format is seen later in pieces such as Gawain and
the Green Knight when the Green Knight comes in to challenge the feasters
in Arthur’s court. It is also seen in the Swedish fairy tale “The Queen” when
Adelgunda refuses to lift her veil at a feast and show her eyes to a prince[65].
She refuses to do this because her eyes are famed far and wide for being able
to show the truth about a person. She has fallen in love with the prince and
does not want him to know. Her refusal to show her eyes disrupts the evening,
the prince leaves offended, and the conflict of the story continues. This may answer some of the natural level of
interpretation. But
why Loki? Why have Loki be the one to disrupt the feast and create such
problems? Why does he continue to incite to the point that his doom is sealed?
Some feel that, in some ways, this was Loki’s role all along. That is why there
has been a “problem of Loki” for some time. One idea is that Loki was
manufactured by, not created by, poets to draw out the “demon”, bring
antagonism to a head, and prepare for victory[66].
Dumezil felt that he had a lack of mythological function but did not think that
he did not have a significant function[67]. Part of that function may have been to do
exactly what he was doing here. It has seemed to some that when Loki was
working with the gods, he was bringing an element of “fantasy, fertility, and
life” with some danger, yes, but nothing too harmful[68].
When Loki operates alone, as he does here, on the outskirts of the society, he
“endangers everything”[69].
Some of this may have something to do with Loki’s aspect as a fire-god, as many
scholars believe[70]. Did
the poet have Loki as the antagonist in this piece specifically to relate to
them as a fire-god[71]?
DeVries even suggests, and Hollander cites as a possibility, that Loki’s
parting words in stanza 65 actually set the hall on fire. Fire
is an aspect that is in all of us. It can be the spark of creativity, the burn
of passion, the overwhelming flame of desire, or the ashes of regret. Was Loki
merely showing this fire-part of the company assembled there and, thus,
exposing things that most do not want known? Let’s examine this further. Person Why Insulted Insult(s) Stanza(s) Fire Symbology Bragi Bragi did not want to allow
him to sit upon his return and rejoin the feast Bragi is a coward 8, 11-15 Loki is insinuating that
Bragi lacks the fire to fight Idunn She entered the fray and
tried to stop the “taunting words” She is “most mad after
men” 16-18 Fire of passion uncontrolled Gefjion She tried to stop the
insulting She has been “lured to
lust” 19-20 Fire of passion and use
of it to gain the necklace Odin Odin warned him to stop
insulting Gefjion -
Odin did not deal out fair victory -
Odin “wove spells like a witch” 21-24 -
Fire here that is seemingly out of control, it does
not end where most think it should -
Fire kindling and burning, subtlety that is not
appreciated or seen as “manly” -
It is interesting that the Odhinic wod – fire of
inspiration is not noted, as there is no insult there to be had Frigg Frigg asked both not to
disclose things that were better left unsaid -
She is “mad after men” -
He caused Balder’s death 25-28 -
Fire of passion -
Funeral pyre (fire of cremation) Freya Tells Loki he is foolish
to brag of such things -
she has lured most to love her -
she is a whore who slept with her brother 29-32 Both again go to the fire
of passion being uncontrolled when it seemingly should have been (in Loki’s
eyes) Njord Defends Freya’s actions
and says there is nothing wrong with what she has done -
Loki is insinuating that Tyr’s wife has fires of
passion Frey Frey alludes to Fenris’
end and that Loki will also, like Fenris, be bound Frey gave his sword for
a woman and will not have it now when he needs it most 41-42 Again, we see the fire of
passion that, in Loki’s opinion, overstepped reason Byggvir As one of Frey’s
servitors, he speaks up when his master is attacked and remarks that this
should have ended Loki says that he is
nothing but a childish, hovering servant and coward 43-46 Like Bragi, Loki feels
that Byggvir lacks the fire of rage that can take men to battle and do
courageous things Heimdall Tries to break things up
by implying Loki, as others, are drunk Loki states that he has a
thankless job endlessly watching the gods 47-48 Again, a fire contained
that would not be in Loki’s eyes Skadi Skadi reminds Loki again
of his bad ending -
Loki says he killed her father -
Loki claims she wanted him for a lover 49-52 -
Fire melts ice, and this is part of what Loki is
trying to do here. He is trying to get to her by bringing up her father, but
it does not work as she remains calm -
Fire of passion that all must have, even those seen
as cold Sif Sif brings him a drink
and tries to calm him down, claiming to be the only one he cannot find fault
with, showing the “ale-goddess” who tries to return the feast to holiness[72] Loki claims that he has
slept with her 53-54 Fire of passion Beyla Beyla breaks in to
announce Thor is coming Loki calls her dirty and
drab and “ever bent on ill” 55-56 Fire can clear away dead
growth and bring out new life. As a servitor, Loki clearly regards her as
useless and wants her cleared away. Thor Thor comes and
immediately tells Loki to hush or he will be hammered. Thor has to do this four
times before Loki will leave. Despite Loki’s taunts, Thor repeats his threats
and thus Loki’s words do not shake him -
Loki says that Thor will not be so ready to enter the
fray when it is time to fight the Wolf -
Loki reminds Thor of when he slept in a glove and did
not seem so mighty then -
Loki reminds Thor of when he could not break through
Skrymir’s strings -
Loki leaves 57-65 Thor’s repeated words
show that the fire that Loki claims runs rampant or not enough in some is not
as invincible as it seems. Fire can be contained with repeated efforts.
Thor’s repeated lines and ignoring of the taunting gives him the power and
the edge over Loki’s attempts to draw out the fire of rage within him. He has
a holy task and keeping a focus on this holy task helps him contain both the
fire within him and the fire element without, which is the disruptive Loki. The entire party Loki is leaving and wants
a parting shot Loki wants to leave the
hall burning 65 Metaphorically, this
could be their burning tempers So, the mythic, or heathen, purpose of this tale is
to talk about the fires that burn in all of us. Others may come to this point
with different conclusions and interpretations, and that is fine. In fact, there is art in this as it sparks
discussion.
Third
Triangle ·
Theme – what is the “big idea” –
Based on the analysis of the story, I believe that there are a couple of “big
ideas”. One is that there is fire in all of us – passion, rage, inspiration,
etc. There are also, at times, a lack of fire in some of us when we wish it
would be there. Fire is an amazing element that seems to live in its crackles
and pops, breathe in its flickering and flame dance, and thrive on destruction.
It is not, however, invincible. Fire can be controlled, or, conversely, fed and
kindled, when focusing on the holy. While some look to three as the holy
number, it is holy in a more mystical sense. Four is a holy number in a sense of
more everyday life. It represents balance, which is what is needed to keep the
fires within us from consuming everything we have and are. Four dwarves support
the sky, holding up Ymir’s skull, four rivers of milk flow from Audhumla, it
took four berserkers to contain Hyrokkin at Balder’s funeral, Loki builds a
home with four doors as he hides to see all, and the hero of Gongu-Hrolf’s Saga is beset by magically
induced weather from sorcerers standing on a platform of four columns[73].
Four is also used as a reckoner of time. Thor has had to deal with the number
four before, easing through four rivers to reach the lower-world of Thingstead[74].
King notes that the number four shows balance but through (at the mildest)
inconvenience. Four contains power and
is its operative base[75]. Another “big idea” is the
one of behavior during ritual. As noted before, this may have been written in
this vein to record a “feast of the gods” to be emulated by humans. If this
were true, it shows some expectations. Leaving out the battle to be overcome,
does this in some way discuss good/bad decorum? Here is where some may disagree
with me, the reader of this piece at this time. The interesting thing about
this strategy is that I may disagree with myself when I return to this piece later.
But right here, right now, this is something that I see. It may be that some
recent prior knowledge is coming in, as I recently attended a ritual executed
by another kindred in the area and was appalled at the behavior. How far do you
go when someone overspeaks during a ritual? Should there be a Thule in these
rites, as some groups have, to challenge bad words and help work meaningful
boasts? While I’m not advocating taking out and stringing up someone by his/her
son’s intestines for making a bad show, I would have liked to have seen someone
dismissed from the rite at the least. ·
Evaluation – What did I, the reader, like or
dislike, question, or disagree with in this piece? Up until now, I had been very mixed about Lokasenna.
Like some scholars, I wanted to chalk this up to later, more Christian writing
that intentionally placed the gods in a poor light to discourage further belief
in them. I read it and dismissed it. I, like Chisholm, am not ready to do this
now. Lokasenna may have taken more work and more scholarly help, but
there is a lot of substance in the poem on many levels. ·
Association -
What rune(s) can be associated with this poem? What are some heathen
applications to the theme of this piece? What does this piece tell me about the
gods and goddesses and how will that knowledge change how I relate to them? Runic associations – The obvious rune
association here is kenaz. It is the rune that speaks of fire. In a runic
setting, fire represents total expansion, heat and light, dryness and dynamism[76].
Again, though, if we are wanting more, there is always further down to go. The
interesting thing about kenaz, is that it is seen in many other runes. Look
below: Kk -- This is the kenaz rune. In
the Old English Rune Poem, it is referred to as torch. It is considered Loki’s
rune and is said to represent a clear and bright intensity that is said to
inspire creativity and the ability to shape. Here is how the kenaz rune is seen in the shapes of
some of the other runes of the Elder Futhark(references from the rune poems and
interpretations from Runelore): T - Thurisaz – This is the rune of Thor and in
its shape is containing the fire. It is contained energy Rr - Raido – In the Old Norse poem under this
rune, it is said that Regin forged the best sword. By the shape of the open and
closed kenaz runes, one can see how the rune represents balance and rhythmic
action. Gg - Gebo – This is the exchange of
power in the end of transforming each other Ww - Wunjo – This is willed
harmony. The Old English poem refers to
joy coming to those with power, which also is harnessing the fire within and
wielding it well. J - Jera – The Old Icelandic poem refers to a
good summer and the Old English poem has this as a rune representing harvest.
Here the cyclical nature of fire is seen as the sun warms and helps the crops
grow to fruition. n - -
Nauthiz – This has kenaz representing the need fire, one that was lit without
stones and meant to show a dire need of the folk Pp - Pertho – The Old English Rune Poem
refers to play and laughter in the hall. This is the synthesis of cause and
effect, the “feast of the gods” where the fires burn bright to warm the folk
but who knows what will happen next. Zz - Algiz – The Old English Rune Poem speaks of
how the “burns with blood” who any try to grasp. This is also the rune of
Bifrost, the flaming rainbrow bridge that links Asgard to Midgard Ss - Sowilo –This is the rune for the sun, the
burning star that warms Midgard. The Old Icelandic poem speaks of the sun as
“shining glory” and “shield of clouds”. t - Teiwaz – The Old English poem says
that Tyr is a star, something that burns brightly and steadfast in the sky,
like a beacon. b - Berkano – The Old Norse poem states
that Loki brought the luck of deceit. Between the Old Norse and Old English
poems we see a tree with green leaves but no fruit. It is a branch of fertility and what is
“becoming”; associated with Freya. e - Ehwaz – The Old English poem speaks
of this rune, the horse rune, as a charger, proud on hooves and recalls heroes
on warhorses, the fire of battle. It is said to be a recombination of forces. m - Mannaz – This Old Icelandic rune
poem speaks of the joy of man and this rune is thought to represent a divine
consciousness. Here are combined fires. N - Ingwaz – Here is the rune associated
with Ing Frey, again representing fertility. Dd - Dagaz – The Old English poem says
that this is the ruler’s famous light and hope. o –
Othala – Here we have a combination of kenaz runes. The top two form an
enclosed ring, a wall, symbolizing the enclosed land and the pride within it,
the bottom faces out showing the exchange inward and outward and harmony. F
So fire, and all it represents, is seen inherently within many of the
runes of the Elder Futhark. The presence of fire in many places shows its
versatility and potential in some places, and can be a warning in others.
Recognizing the fire within the runes, and recognizing the fire within us is
the same metacognition we used when analyzing the text: it helps us think about
our thinking. To apply
the theme and message to Lokasenna, I have created a bind rune for myself to
remember what the “big idea” symbolized to me. I have consciously combined
Hagalaz and Kenaz. Others may come up with a different bindrune or message and
that is fine; here is the reasoning for mine. Kenaz, of course, for the fire
aspect that we have been discussing, and Hagalaz because it is the ninth rune,
the rune that contains all within. The fire is within the gods and within all
of us. Knowing that helps us recognize it and work with it. Heathen
Applications – This is probably the section that most readers want to
jump right into and focus on the most. It can be frustrating to wait this long
and wade through this much to find how the lore can help us in a more practical
matter. I would argue that without some of this work; however, the applications
stated here could not have been made, at least not as deeply. Here are some
things found in Lokasenna to apply to a heathen life, based on this
reading and this interpretation: ·
Fire exists within all of us: passion, rage,
inspiration, etc. Recognizing this in us can help us work with it and not have
it present itself because our flames have been unattended ·
Just because someone sees something I have done
as a negative; that need not be the case. This is not meant to be a
justification for doing things that are violating heathen ethics that many
agree on, such as the Nine Noble Virtues or other kindred-recognized standards.
It is meant to say that, at the end of the day, I have to be ok with what I
have done. Others may turn it and twist it and make it look terrible, but I
have to know what I have done, just as Thor did not let Loki get to him in the
end. ·
When being confronted with fire raging out of
control in myself or in another, repeated attempts at focusing on what is holy
and what is balanced will put things in the proper perspective. ·
There is a certain expectation of ritual
behavior during a ritual feast, for it is in the feast setting that the gods
are present in the power and the people who sacrifice to them[77]. As a final reflective tool, it is time to return to
the KWL chart and see if the things that were to focus the reading were
addressed. Loki has been an Why
does Loki turn on Loki made ambiguous character at
best his friends, even his his claims to Loki at some point does oath brother? show the “fire” cause the death of Balder How will I know what to in all there. Loki seems to do things that
believe re: his charges? Many
of the look bad at first then are not How will this help me in charges are my heathen life? alluded to in Does
the dating of this other
places. make a difference? The dating does
not affect
the themes or applications
learned above.
This
comprehension strategy is designed to enrich the reading of the lore. Best of
luck with its application and may the triangles of Odin guide your reading into
deeper realms and richer applications.
K
(what do I already know) W (what do I
want to know) L (learned)
Notes Response
-
To me, this represents the need fire as Tyr
sacrificed his hand for the greater need
h
K
(what do I already know) W (what do I
want to know) L (learned)