Odin

by Diana L. Paxson

  In the saga about the noted poet and warrior Egil Skallagrimsson, we see him inscribing runes on a drinking horn to reveal the poison within (chapter 44). In another episode (chapter 72), he notes that the daughter of a farmer with whom he is staying is ill. He is told that a neighbor's son inscribed some runes on a sheep's shoulder bone to help her, yet she is no better. Egil, observing that people who don't understand the runes shouldn't mess with them, scrapes off the runes and burns the bone to destroy the first spell and replaces it with a spell of his own.

  Sound and Sense

  The sounds and meanings that go with each rune stave are derived from three rune poems: the Anglo-Saxon, the Icelandic, and the Old Norse. You can find the texts and translations online at a number of sources, including https://en.wikisource.org/wiki/Rune_poems.

  For example, let us look at the rune most often associated with Odin. This is the fourth rune, whose reconstructed old Germanic name is Ansuz. The Old English Rune Poem gives it as:

  This rune poem was composed in the 8th or 9th century, when the English had already been converted to Christianity but were still using runes or sometimes a combination of rune staves and Latin letters. In a somewhat glorified manner, the stanza for Os celebrates communication.

  The Norwegian rune poem covers the runes of the Younger Futhark, which were in use by the 9th century. The earliest manuscript that records it was written in the 13th century, also after the conversion. It translates the rune name as “mouth” and explains it as the mouth of a fjord.

  The Icelandic poem may not be any older than the Norwegian, but Iceland was the last Scandinavian country to convert to Christianity (in the 11th century). Even in the 13th century, when Snorri Sturlusson was writing, the old mythology was the foundation of poetry and culture. It specifically identifies óss, with “ás,” a god, Odin.

  We do not know whether the rune originally meant “mouth” or the god Odin, but given that he was the patron of poets as well as being the giver of the runes, if you take the Anglo-Saxon and Icelandic poems together, you get Odin as a god of speech and communication. My own rune poem describes the rune as, “ANSUZ, ÓSS, is Odin's wisdom, communicating ecstasy.”

  When we salute Odin as Master of the Runes, we also hail him as Rider of the Tree, recognizing the price he paid for that power. But he did not seek the runes for himself alone. Some he shared with the other gods, some he gave to leaders among the elves and the dwarves, and some he wrought for “earth-born men” (Hávamál 143). We do not know if all beings received the same runes, but if we take up the ones that Odin gave to humankind, it is our responsibility to use them wisely.

  Odin's identity as a god of communication might also explain why a number of people who work with him find that he speaks through and to them through trance dictation, in which you open your mind to the god and simply take down the words he puts there. This technique is discussed more fully in my book Possession. Examples of these transmissions from several different mediums are available on the Odinspeaks website (www.odinspeaks.com).

  Given that anything passing through the filter of a human mind may be subject to bias and error, the fact that material transmitted through different individuals may still show a remarkable consistency in style and tone suggests a single source. But whether the comments come from the minds of the writers or from the god, they offer insight into the experience of working with Odin today.

  Practice

  If you have not yet studied the runes, now is a good time to begin. My own book Taking up the Runes is only one of the useful resources now available. Here are some others:

  Edred Thorsson, Futhark (Weiser, 1984)

  ———, Runelore (Weiser, 1987)

  ———, At the Well of Wyrd (Weiser, 1989)

  These books, written at the beginning of the “Runic Awakening,” were the first to develop working with the runes as a contemporary magical and spiritual system.

  Freya Aswynn, Leaves of Yggdrasil (Llewellyn, 1993). Interpretations by a longterm priestess of Odin with a background in British magical traditions.

  Kveldulf Gundarsson, Teutonic Magic, (Llewellyn, 1993). More magical technology with particularly good pathworkings.

  R. I. Page, Reading the Past: Runes (British Museum, 1987). Historical background on the runes from a mundane and scholarly perspective.

  Stephen Pollington, Rudiments of Runelore (Anglo-Saxon Books, 1995). A useful introduction to Elder, Anglo-Saxon, and Norse runes.

  ———, Runes, Literacy in the Germanic Iron Age (Anglo-Saxon Books, 2017). An in-depth examination of everything archaeology and scholarship have been finding out about the origins and use of the Elder Futhark and its later development in England.

  Ann Gróa Sheffield, Long-Branches (Lulu.com, 2015). An excellent study of the Younger Futhark.

  Many have found it useful to make their own rune sets from wood, river stones, or even Sculpi. Meditate on the meaning of each rune as you make it, and keep your runes on your Odin altar. When/if you have a complete set, try drawing one or three runes when you have a question. This is one way to talk to the god.

  Meditation for the Third Night: The Rider of the Tree

  Set up your altar and prepare the space as before. Light a green candle. Or you may choose to do this meditation sitting with your back against a tree. Then say:

  Odin, by these names I call you:

  Váfuth (“Dangler”)

  Hangi (“Hanging One”)

  Svidrir (“Spear God”)

  Ómi (“Crier”)

  Fimbulthul (“Mighty Speaker”)

  Rider of the Tree

  If you have already memorized and studied the runes, galdor (intone) them one by one, feeling the vibrations roll through your body and taking a few moments to meditate on the meaning of each. If not, read the rune poem that follows or another of your choice, taking time to contemplate each meaning.

  Fehu (FAY-hoo) is herds and fertile fields, Freely, Freyr finds wealth for friends.

  Uruz (OO-rooz), Aurochs, urges earthward Spirit strength to shape creation.

  Thurisaz (THUR-ee-sahz) the thorn of Thor, Is force that frees, or fights a foe.

  Ansuz (AHN-suz), Ós, is Odin's wisdom, Communicating ecstasy.

  Upon Raidho (RIDE-oh) the road is ridden To work and world around together.

  Kenaz (KEN-az) kens creation's fire; With torch transforming hearth and hall.

  Gebo (GAY-bo) unites the gift and giver In equal exchange of energy.

  Wunjo (WOON-yo) wins Wishfather's blessing, Joy joins folk in family freedom.

  Hagalaz (HAH-gah-laz) hails ice seeds hither, Harm is melted into healing.

  Naudhiz (NOW-theez) is Necessity, Norn-rune forcing Fate from Need.

  Isa (EE-sah) is the Ice, inertia, Stasis and serenity . . .

  Jera's (YARE-ah) Year-Wheel yields good harvest, Right reward as seasons ripen.

  Eihwaz (AY-wahz), yew of Yggdrasil, Bow of Life and Death, worlds binding.

  Perthro (PEAR-throw) pours its play from rune cup, Chance or change for man or child.

  Elhaz (EL-haz), Elk is sharp-tined sedge, Totem power provides protection.

  Sowilo (So-WEE-low) sets the sun wheel soaring, Guiding light by land or sea.

  Tiwaz (TEE-waz) is the rune of Tyr, Victorious victim, enjoining justice.

  Berkano (BEAR-kah-no), Birch tree, Bride, and Mother, Brings us Earth-power for rebirthing.

  Ehwaz (EH-waz), Eoh, extending energy, The Holy Horse links god and human.

  In Mannaz (MAH-naz) every man is master, All Ríg's children are relations.

  From Laguz (LAH-guz) Lake life ever-flowing Wells from Mother-depths of darkness.

  Ingwaz (ING-waz) wanders the world in his wagon, And dying, leaves life in the land.

  Dagaz (DAH-gaz) is a bright day's dawning, Life and growth and light for all.

  Othala (OH-thah-lah) is holy heart-home For clan and kin of mind and body.

  The Building of Bifrost

  Long ago, i
n the dreaming time that begins all stories of origin, the gods of the north came forth from the mists where the primal ice met Muspel's flames. Odin was first among them, first to know himself, to see and understand that he saw, to speak the words of power that named all things. So it was in those days, when the jotnar—the primal powers of wind and weather, the giants of the frost and the cliffs and the mountains, of the sky and sea—walked the world.

  Odin took thought for the future, for a vision had come to him of Middle Earth and how it would be tilled and settled by humankind. But for that to happen, the newly made humans must have protection; for in those days, those who would become humankind still sheltered in caves and hollows, gathering roots and berries and chipping tools from stone.

  Odin, who is a great wanderer, sought the spirit of Earth, Jordh, Mother Earth in woman shape, a giantess of the most ancient kin. He reminded her that humankind was also her offspring, and they needed a protector. And they lay together, and from that union came Thor, who strides the skies, striking the clouds to bring the lightning and laughing in the thunder. To Thor was given the task of battling the wild powers, to defeat just enough of them so that there would be room for humankind to flourish on the land. And so it is that even now he does not kill all the giants—just a few, when it is needful. But these days, humans themselves destroy many of the elder kin.

  But even Thor's strength was not enough. A center was needed, a refuge from which the gods might fare forth to shape the worlds. Odin contracted with one of the mightiest of the jotnar to build him a place of power. If he should finish it in the time set, he would have Freyja, lady of love and beauty, for his bride. Odin dared to make this promise because Loki had assured him that he would find a way out of the bargain. But the giant harnessed up his giant horse, and together they worked too well, and Loki could find nothing the giant would take in exchange for the goddess. One day was left on the contract, and the walls were almost completed. What to do?

  Loki, in desperation, changed himself into a mare, sleek and rounded—and in season. He, or rather she, trotted past the giant's horse, waving her tail seductively, and the stallion, unable to resist, broke his harness and went after her. The giant raged, but without his horse to pull the stones he could not finish the wall. Eventually, the horse came back, but the deadline was passed, and Freyja was saved.

  There was one other consequence—when the time was accomplished, Loki, still in the shape of the mare, gave birth to an eight-legged steed who could outrun the wind. He was called Sleipnir, and Odin raised him up and taught him to run between the worlds.

  And so the fortress the gods had envisioned was finished, fair and mighty, a castle in the clouds. And there were the gods on Middle Earth, gazing up at it. Odin could enter, for it was his mind that had shaped it, and he had Sleipnir to bear him. But he did not wish to dwell there alone.

  That castle was not entirely in the world. Sometimes the walls seemed as transparent as mist; sometimes they were solid stone. At all times they were curiously hard to gaze at, for the eye somehow kept slipping away. No one of mortal race could come there, and it was not easy even for the holy gods. A bridge was needed, and not just a link between one world and the other, but a bridge that would itself be a transformation, so that those who walked it would be able to move between the worlds.

  Odin called on Thor to summon the mists and swing his hammer, and clouds curdled in the sky. Odin called a gentle wind to hold them and summoned Sunna from the east to bless the sky with her rays. And as she rose, all the assembled gods saw a shimmer in the air.

  “What is it?” they asked. “What are you doing to the sky?”

  But Odin only smiled. “Behold,” he said then, “Sunna's disc rising in the dawning, the brightness of Idunna's apples, the blood that gives you life. Set your feet firmly upon Middle Earth and see as men see. . . .” and he uttered a rune of power—URUZ. . . .

  And the gods blinked, for the vibration in the air had a color. They saw red, they saw crimson, an arc of color arching across the sky. And the bow arched downward until that ruddy light bathed all of them, and they saw one another as red, children of earth one and all.

  “That is wonderful, but what is it good for?” they asked.

  “Wait,” said Odin. And they could tell that the air beside the red arch was moving, but that was all. “Cannot you see,” he asked, “the blaze of sunset on the sea? The warm skin of lovers in close embrace? Look at Freyja with the sunlight on her hair. Feel desire pulse within you and see. . . .” and he uttered a second rune—FEHU. . . .

  And suddenly they realized that the red was shading into an arc of blazing orange, glowing in the heavens. And the band arched down and they felt desire, and Freyja moved among them, blessing them with her love.

  But now it was clear that the air next to the orange band was vibrating, too.

  “What is this?” they asked. “Show us how to see—”

  “It is you who must will this,” said the god. “Draw the fire of the sun and the radiance of the growing grain into your centers, and see!” Once more he chanted a rune—SOWILO. And the gods stared at the shimmer and willed it to enfold them, and as it did so, fire flared through them, and they were bathed in golden light.

  A fiery arch now spanned the sky; it was like a road, but not yet broad enough to bear them, and the air still shook with colors they could not see.

  “The next band will be harder,” said Odin, “for you must open your hearts to all the world. See the waving grass, see the glossy leaves of the Worldtree, and become those things.” And he uttered the rune JERA, and they touched the green grass that grows everywhere and the green leaves of the tree Yggdrasil, which bears the worlds, and they loved them all.

  As each band of color was added, they could feel themselves changing; now they shook with excitement as well.

  “Can you tell me what you are seeing?” Odin asked then. And they shook their heads in silence, for they knew only a wonder for which they had no words. “Until you can speak of what you see, you have no power over it,” he said. “Look up into the sky, and breathe deeply, and let the wind fill you with words.”

  And he spoke the rune that is one of his own names: ANSUZ. . . .

  And a great blue wind rushed about them, and suddenly they were babbling. “Turquoise, cerulean, ultramarine, sky, sea . . .” they cried, and a shimmering band of blue flared out from the green and arched across the sky.

  “The bridge is broad now,” they said. “Let us go across.”

  “No,” answered Odin. “You think you see, but you do not, for you are only seeing with the eyes of the body. Move into the vibration that comes now, and let it shake you until you truly see. . . .”

  And the rune he uttered then was PERTHRO, which signifies the Well in which the eye he gave for Wisdom is hid.

  And what they saw then was the deepening color of the sky as it passes from sunset to midnight lit by the moon; they saw all other colors in this new light more luminous and radiant than before. They saw with the eye that is hidden behind the brow. They saw indigo. . . .

  The gods looked upon one another and saw each transformed, and Odin whispered the last rune, which is the rune of his spirit, and is named JOY . . . WUNJO. . . .

  And the gods saw color beyond color, a radiant violet, and they saw the rainbow complete, arching like a bridge before them, linking the heights of Odin's sanctuary to the lands below.

  “Behold Bifrost, the shaking bridge, that vibrates with all the colors there are. Now the substance of which you have formed your essence is all light, and you, shimmering with all vibrations, can see all things. Follow me now, my children, and we will enter our new home.”

  And Odin stepped onto the bridge, and his body shook with all of its colors, and shimmered like a rainbow. First to follow was Heimdall, Odin's son by the nine waves, the god who can see farther and hear better than any other being in the worlds; for that, Odin made him Bifrost's guardian. And after him, one by one, all the holy
gods and goddesses stepped onto the bridge and ascended into the realm that is called Asgard, the sanctuary of the gods.

  And we know that this is so, for after the storm the sun returns, and Bifrost shimmers in her holy light. And those who learn to shimmer with the colors of the rainbow, seeing and understanding all things, may journey to dwell with the gods.

  I wrote this tale in 1996 for a conference at Asilomar near Monterey that had been focusing on a new chakra each year. Think of it as a fantasy on the origin of the Rainbow Bridge, inspired by, though not based on, the lore. When I was at the conference, they had reached Ajna, the chakra of Vision located in the Third Eye. The conference hall was draped in indigo and had some of the biggest quartz crystals I have ever seen. While I didn't agree with everything they were saying, for me it was a very Odinic weekend.

  Fig. 10. All-father

  CHAPTER FIVE

  All-father

  Gylfi: “Who is the highest and most ancient of all gods?”

  High: “He is called All-father in our language, but in Old Asgard, he had twelve names.”

  —Gylfaginning 3

  Actually, as we have already seen, for Odin, twelve names is barely a beginning. But among his bynames and epithets, “All-father” is one of the most popular.

  We may have met Odin first as the wanderer or the wizard, but a search of his images will show that he is most often portrayed as the ruler of Asgard, greatest and most glorious of the gods. When Odin is not wandering the world, he watches over it from Asgard. In the old days, the chieftains were as fathers to their people. The title “All-father” expresses Odin's protective relationship to men and gods.