Fucanglong (伏藏龍)
Alternative Names (異名):
伏藏龍, 伏藏龙, Fúcánglóng, Fucanglong, Futs-Lung, Futs-Long
In Chinese mythology the Fucanglong (simplified Chinese: 伏藏龙; traditional Chinese: 伏藏龍; pinyin: Fúcánglóng), Futs-Lung or Futs-Long, are the Chinese underworld dragons which guard buried treasures, both natural and man-made. Volcanoes are said to be created when they burst out of the ground to report to heaven
Links
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Chinese mythology | Chinese dragons | Chinese mythology stubs
Wednesday, January 23, 2008
Fenghuang (鳳凰, Chinese)
Fenghuang (鳳凰, Chinese)
Alternative Names (異名):
鳳凰, 凤凰, Fènghuáng, Fenghuang, 봉황(Korean), bonghwang, hō-ō(Japanese), Phượng Hoàng(Vietnamese)
Fenghuang (Chinese: 鳳凰/凤凰; pinyin: Fènghuáng; Japanese: 鳳凰 hō-ō; Korean: 봉황 bonghwang; Vietnamese: Phượng Hoàng) are mythological Chinese birds that reign over all other birds. The males are called Feng and the females Huang. In modern times, however, such a distinction of gender is often no longer made and the Feng and Huang are blurred into a single feminine entity so that the bird can be paired with the Chinese dragon, which has male connotations. The Fenghuang is also called the "August Rooster" (traditional Chinese: 鶤雞; pinyin: kūnjī) since it sometimes takes the place of the Rooster in the Chinese Zodiac. In the West, it is commonly referred to as the Chinese phoenix and occasionally Ho-Oh bird (from the Japanese name hō-ō).
Appearance
A common depiction was of it attacking snakes with its talons and its wings spread. According to scripture Erya - chapter 17 Shiniao, Fenghuang is said to be made up of the beak of a rooster, the face of a swallow, the forehead of a fowl, the neck of a snake, the breast of a goose, the back of a tortoise, the hindquarters of a stag and the tail of a fish.
Origin
The images of the Fenghuang have appeared in China for over 7,000 years, often in jade and originally on good-luck totems. It is a totem of eastern tribes in ancient China. Current theories suggest that it is likely based in part - for example the snake-like neck - on folk memory of the Asian Ostrich which was common in prehistoric China but became extinct several thousand years ago. That this bird was well-known to the early modern humans in Asia, noted for its peculiarity, and hunted for food, is attested by numerous archaeological finds, such as pottery decorated with painted ostriches, and bones by early campsites.
Fenghuang seems to have no connection with the phoenix of the Western world, which derives from Egyptian mythology. Peculiarly, the "Western" (actually: Ancient Egyptian) phoenix may also in part reference a prehistoric bird, the Bennu Heron. Unlike the Fenghuang, which is a chimera not very much like any actual bird (though elements of a cock and a cursorial groundbird probably best interpreted as an ostrich are recognizable), the Egyptian phoenix was a rather conventional animal most often considered similar to a heron or eagle which "merely" had a supernatural lifestyle.
During the Han Dynasty (2,200 years ago) the phoenix was used as a symbol depicting the direction south, shown as a male (feng, 鳳) and female (huang, 凰) phoenix facing each other. It was also used to symbolize the Empress in a pairing with a dragon where the dragon represents the Emperor. It might come from the merging of eastern and western tribes of ancient China.[citation needed] The phoenix represented power sent from the heavens to the Empress. If a phoenix was used to decorate a house it symbolized that loyalty and honesty were in the people that lived there. Or alternatively, phoenix only stays when the ruler is without darkness and corruption (政治清明).
Meaning
The Fenghuang has very positive connotations. It is a symbol of high virtue and grace. The Fenghuang also symbolizes the union of yin and yang. It appears in peaceful and prosperous times but hides when trouble is near. Shan Hai Jing - chapter 1 Nanshan jing records each part of Fenghuang's body symbolizes a word, the head represents virtue (德), the wing represents duty (義)，the back represents propriety (禮) the abdomen says belief (信) and the chest represents mercy (仁).
In ancient China, they can often be found in the decorations for weddings or royalty, along with dragons. This is because the Chinese considered the dragon and phoenix symbolic of blissful relations between husband and wife, another common yin and yang metaphor
Modern usage
"Fèng talon" (鳳爪) is a Chinese dish of chicken feet cooked in a black bean sauce.
"Fènghuáng" is a common element in the names of Chinese girls (likewise, "dragon" for boys' names).
"Dragon and Fèng infants" (龍鳳胎) is an expression meaning a set of boy and girl fraternal twins.
Fenghuang is also a county in western Hunan province of China, formerly a sub-prefecture. Its name is written with the same Chinese characters as the mythological bird.
In Korea, it has been used for the royal emblem or the presidential emblem.
The Vermilion Bird of the South, one of the Four Symbols (Ssu Ling) of Chinese myth, is sometimes mistaken for the Fenghuang, when in reality, they are two separate entities
See also
Chinese dragon
Chinese mythology
Phoenix (mythology)
Huma (mythology)
Byōdō-in ("Phoenix Hall" in Uji, Japan)
Phoenix Program
Links
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Chinese mythology | Legendary birds | Chinese legendary creatures
Alternative Names (異名):
鳳凰, 凤凰, Fènghuáng, Fenghuang, 봉황(Korean), bonghwang, hō-ō(Japanese), Phượng Hoàng(Vietnamese)
Fenghuang (Chinese: 鳳凰/凤凰; pinyin: Fènghuáng; Japanese: 鳳凰 hō-ō; Korean: 봉황 bonghwang; Vietnamese: Phượng Hoàng) are mythological Chinese birds that reign over all other birds. The males are called Feng and the females Huang. In modern times, however, such a distinction of gender is often no longer made and the Feng and Huang are blurred into a single feminine entity so that the bird can be paired with the Chinese dragon, which has male connotations. The Fenghuang is also called the "August Rooster" (traditional Chinese: 鶤雞; pinyin: kūnjī) since it sometimes takes the place of the Rooster in the Chinese Zodiac. In the West, it is commonly referred to as the Chinese phoenix and occasionally Ho-Oh bird (from the Japanese name hō-ō).
Appearance
A common depiction was of it attacking snakes with its talons and its wings spread. According to scripture Erya - chapter 17 Shiniao, Fenghuang is said to be made up of the beak of a rooster, the face of a swallow, the forehead of a fowl, the neck of a snake, the breast of a goose, the back of a tortoise, the hindquarters of a stag and the tail of a fish.
Origin
The images of the Fenghuang have appeared in China for over 7,000 years, often in jade and originally on good-luck totems. It is a totem of eastern tribes in ancient China. Current theories suggest that it is likely based in part - for example the snake-like neck - on folk memory of the Asian Ostrich which was common in prehistoric China but became extinct several thousand years ago. That this bird was well-known to the early modern humans in Asia, noted for its peculiarity, and hunted for food, is attested by numerous archaeological finds, such as pottery decorated with painted ostriches, and bones by early campsites.
Fenghuang seems to have no connection with the phoenix of the Western world, which derives from Egyptian mythology. Peculiarly, the "Western" (actually: Ancient Egyptian) phoenix may also in part reference a prehistoric bird, the Bennu Heron. Unlike the Fenghuang, which is a chimera not very much like any actual bird (though elements of a cock and a cursorial groundbird probably best interpreted as an ostrich are recognizable), the Egyptian phoenix was a rather conventional animal most often considered similar to a heron or eagle which "merely" had a supernatural lifestyle.
During the Han Dynasty (2,200 years ago) the phoenix was used as a symbol depicting the direction south, shown as a male (feng, 鳳) and female (huang, 凰) phoenix facing each other. It was also used to symbolize the Empress in a pairing with a dragon where the dragon represents the Emperor. It might come from the merging of eastern and western tribes of ancient China.[citation needed] The phoenix represented power sent from the heavens to the Empress. If a phoenix was used to decorate a house it symbolized that loyalty and honesty were in the people that lived there. Or alternatively, phoenix only stays when the ruler is without darkness and corruption (政治清明).
Meaning
The Fenghuang has very positive connotations. It is a symbol of high virtue and grace. The Fenghuang also symbolizes the union of yin and yang. It appears in peaceful and prosperous times but hides when trouble is near. Shan Hai Jing - chapter 1 Nanshan jing records each part of Fenghuang's body symbolizes a word, the head represents virtue (德), the wing represents duty (義)，the back represents propriety (禮) the abdomen says belief (信) and the chest represents mercy (仁).
In ancient China, they can often be found in the decorations for weddings or royalty, along with dragons. This is because the Chinese considered the dragon and phoenix symbolic of blissful relations between husband and wife, another common yin and yang metaphor
Modern usage
"Fèng talon" (鳳爪) is a Chinese dish of chicken feet cooked in a black bean sauce.
"Fènghuáng" is a common element in the names of Chinese girls (likewise, "dragon" for boys' names).
"Dragon and Fèng infants" (龍鳳胎) is an expression meaning a set of boy and girl fraternal twins.
Fenghuang is also a county in western Hunan province of China, formerly a sub-prefecture. Its name is written with the same Chinese characters as the mythological bird.
In Korea, it has been used for the royal emblem or the presidential emblem.
The Vermilion Bird of the South, one of the Four Symbols (Ssu Ling) of Chinese myth, is sometimes mistaken for the Fenghuang, when in reality, they are two separate entities
See also
Chinese dragon
Chinese mythology
Phoenix (mythology)
Huma (mythology)
Byōdō-in ("Phoenix Hall" in Uji, Japan)
Phoenix Program
Links
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Chinese mythology | Legendary birds | Chinese legendary creatures
Tuesday, January 22, 2008
Azure Dragon (靑龍)
Azure Dragon (靑龍)
Alternative Names (異名):
靑龍, 青龙, 청룡, Qīng Lóng, Azure Dragon, Seiryū(Japanese), Thanh Long(Vietnamese)
The Azure Dragon (traditional Chinese: 青龍; simplified Chinese: 青龙; pinyin: Qīng Lóng) is one of the Four Symbols of the Chinese constellations. It is sometimes called the Azure Dragon of the East (traditional Chinese: 東方青龍; simplified Chinese: 东方青龙; pinyin: Dōng Fāng Qīng Lóng), and it represents the east and the spring season. It should not be confused with the mythological yellow dragon that is associated with the Emperor of China.
The Seven Mansions of the Azure Dragon
Like the other Four Symbols, the Azure Dragon corresponds to seven "mansions", or positions, of the moon.
Horn (Chinese: 角; pinyin: Jiăo)
Neck (Chinese: 亢; pinyin: Kàng)
Root (Chinese: 氐; pinyin: Dĭ)
Room (Chinese: 房; pinyin: Fáng)
Heart (Chinese: 心; pinyin: Xīn)
Tail (Chinese: 尾; pinyin: Wěi)
Winnowing Basket (Chinese: 箕; pinyin: Jī)
Origin
In Book of Tang, the reincarnation of White Tiger 's Star is said to be Li Shimin's general Luo Cheng (羅 成) and the reincarnation of Azure Dragon 's Star is said to be the rebellious general Dan Xiongxin (單 雄信). They two are sworn brothers of Qin Shubao (秦 叔寶), Cheng Zhijie (程 知節) and Yuchi Jingde (尉遲 敬德). Their souls after death are said to possess the body of the new heroes of Tang Dynasty and Liao Dynasty, Xue Rengui (薛 仁貴) and He Suwen (郃 苏文).
In some legends of the Tang Dynasty's general Xue Rengui, he's said the reincarnation of the White Tiger's Star. And his archenemy, Liao Dynasty's prince He Suwen is the reincarnation of the Azure Dragon's Star.
In Japan
In Japan, the Azure Dragon is one of the four guardian spirits of cities and is said to protect the city of Kyoto on the east. The west is protected by the White Tiger, the north is protected by the Black Tortoise, and the south is protected by the Vermilion Bird. In Kyoto there are temples dedicated to each of these guardian spirits. The Azure Dragon is represented in the Kiyomizu Temple in eastern Kyoto. Before the entrance of the temple there is a statue of the dragon which is said to drink from the waterfall within the temple complex at nighttime. Therefore each year a ceremony is held to worship the dragon of the east.
In 1983, the Kitora Tomb was found in the village of Asuka. All four guardians were painted on the walls (in the corresponding directions) and a system of the constellations was painted on the ceiling. This is one of the only ancient records of the four guardians.
Links
http://en.wikipedia.org/wiki/Azure_Dragon
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Tag
Chinese constellations | Chinese astronomy | Chinese mythology (중국신화) | Chinese dragons | Chinese legendary creatures
Alternative Names (異名):
靑龍, 青龙, 청룡, Qīng Lóng, Azure Dragon, Seiryū(Japanese), Thanh Long(Vietnamese)
The Azure Dragon (traditional Chinese: 青龍; simplified Chinese: 青龙; pinyin: Qīng Lóng) is one of the Four Symbols of the Chinese constellations. It is sometimes called the Azure Dragon of the East (traditional Chinese: 東方青龍; simplified Chinese: 东方青龙; pinyin: Dōng Fāng Qīng Lóng), and it represents the east and the spring season. It should not be confused with the mythological yellow dragon that is associated with the Emperor of China.
The Seven Mansions of the Azure Dragon
Like the other Four Symbols, the Azure Dragon corresponds to seven "mansions", or positions, of the moon.
Horn (Chinese: 角; pinyin: Jiăo)
Neck (Chinese: 亢; pinyin: Kàng)
Root (Chinese: 氐; pinyin: Dĭ)
Room (Chinese: 房; pinyin: Fáng)
Heart (Chinese: 心; pinyin: Xīn)
Tail (Chinese: 尾; pinyin: Wěi)
Winnowing Basket (Chinese: 箕; pinyin: Jī)
Origin
In Book of Tang, the reincarnation of White Tiger 's Star is said to be Li Shimin's general Luo Cheng (羅 成) and the reincarnation of Azure Dragon 's Star is said to be the rebellious general Dan Xiongxin (單 雄信). They two are sworn brothers of Qin Shubao (秦 叔寶), Cheng Zhijie (程 知節) and Yuchi Jingde (尉遲 敬德). Their souls after death are said to possess the body of the new heroes of Tang Dynasty and Liao Dynasty, Xue Rengui (薛 仁貴) and He Suwen (郃 苏文).
In some legends of the Tang Dynasty's general Xue Rengui, he's said the reincarnation of the White Tiger's Star. And his archenemy, Liao Dynasty's prince He Suwen is the reincarnation of the Azure Dragon's Star.
In Japan
In Japan, the Azure Dragon is one of the four guardian spirits of cities and is said to protect the city of Kyoto on the east. The west is protected by the White Tiger, the north is protected by the Black Tortoise, and the south is protected by the Vermilion Bird. In Kyoto there are temples dedicated to each of these guardian spirits. The Azure Dragon is represented in the Kiyomizu Temple in eastern Kyoto. Before the entrance of the temple there is a statue of the dragon which is said to drink from the waterfall within the temple complex at nighttime. Therefore each year a ceremony is held to worship the dragon of the east.
In 1983, the Kitora Tomb was found in the village of Asuka. All four guardians were painted on the walls (in the corresponding directions) and a system of the constellations was painted on the ceiling. This is one of the only ancient records of the four guardians.
Links
http://en.wikipedia.org/wiki/Azure_Dragon
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Tag
Chinese constellations | Chinese astronomy | Chinese mythology (중국신화) | Chinese dragons | Chinese legendary creatures
Monday, January 21, 2008
Korean dragon (龍)
Korean dragon (龍)
Alternative Names (異名):
龍(Hanja), 룡(Hangul), 용, ryong, yong, 미르(Traditional Korean) ▶ Korean dragon
龍(Traditional Chinese), 龙(Simplified Chinese), Lóng(Hanyu Pinyin) ▶ Chinese dragon
龍(Kyūjitai), 竜(Shinjitai), りゅう(Hiragana), たつ ▶ Japanese dragon
龍(Hán tự), rồng(Quốc ngữ), long ▶ Vietnamese dragon
The Korean dragon is a certain type of dragon associated with Korean mythology. Like its peers, the Korean dragon is culture-specific, which means it has unique properties that differentiate it from dragons in other cultures. It is generally comparable to its Chinese counterpart in appearance and cultural significance.
Korean dragons
The Korean dragon is derived from Chinese dragon. Whereas most dragons in Western mythology are generally related to the elements of fire and destruction, dragons in Korean mythology are mostly viewed as benevolent beings related to water and agriculture, often considered bringers of rain and clouds. Hence, many Korean dragons are said to have resided in rivers, lakes, oceans or even deep ponds within mountains.
The symbol of the dragon has been used extensively, both in Korean mythology and ancient Korean art. Politically, the dragon represents the Emperor, who himself was associated with rain and agriculture. Hence, those who used the title of King (Wang) were forbidden from wearing dragon adornments; the Fenghuang is the creature traditionally associated with a king.
Ancient texts sometimes mention sentient speaking dragons, capable of understanding such complex emotions such as devotion, kindness, and gratitude. One particular Korean legend speaks of the great King Munmu, who on his deathbed wished to become a "Dragon of the East Sea in order to protect Korea."
The Korean dragon was said to have certain specific traits: no wings, for example, in addition to a long beard. It is in many ways very similar in appearance to dragons of Chinese and Japanese mythology, which is not hard to understand since they all have the same Chinese origin.
Very occasionally a dragon may be depicted as carrying a dragon orb known as the Yeo-ui-ju (여의주) in one or more of its claws. It was said that whoever could wield the Yeo-ui-ju was blessed with the abilities of omnipotence and creation at will, and that only four-toed dragons (those which had thumbs to hold the orbs) were both wise and powerful enough to wield these orbs (as opposed to the lesser, three-toed dragons).
As with Chinese dragons, the number nine is significant with Korean dragons and they are said to have 81 (9x9) scales on their backs.
Imoogi (이무기)
A close relative to the dragon is a native Korean mythological creature known as an Imugi. There are different stories about the Imoogi: Some, for example, say that they are hornless creatures resembling dragons but have been cursed, and thus were unable to become dragons. Other say that an Imugi is a proto-dragon which must survive one thousand years in order to become a fully fledged dragon. In either case they are said to be large benevolent python-like creatures that live in the waters or caves. Their sighting is associated with good luck.
In the Korean film titled D-War, two Imoogi were seen, one of which took a dragon orb and became a dragon. In this film, however, one of the Imoogi (the one that failed to become a dragon) was portrayed as totally evil, and was killed by the one that became a dragon.
Korean cockatrice
The Korean cockatrice is known as a kye-ryong (계룡), which literally means chicken-dragon; they do not appear as often as dragons. They are sometimes seen as chariot-pulling beasts for important legendary figures or for the parents of legendary heroes. One such legend involves the founding of the Kingdom of Silla, whose princess was said to have been born from a cockatrice egg.
See also
Chinese mythology
Fenghuang
Culture of China
Dragon
Dragon boat race
Dragon dance
Dragon Kung Fu
Imperial guardian lions
Lion dance
Persian dragon
European dragon
Japanese dragon
Korean dragon
Vietnamese dragon
List of dragons in mythology and folklore
Long Mu (Dragon's Mother)
An Instinct for Dragons, hypothesis about the origin of dragon myths.
Links
http://en.wikipedia.org/wiki/Korean_dragon
http://en.wikipedia.org/wiki/Category:Dragons
Alternative Names (異名):
龍(Hanja), 룡(Hangul), 용, ryong, yong, 미르(Traditional Korean) ▶ Korean dragon
龍(Traditional Chinese), 龙(Simplified Chinese), Lóng(Hanyu Pinyin) ▶ Chinese dragon
龍(Kyūjitai), 竜(Shinjitai), りゅう(Hiragana), たつ ▶ Japanese dragon
龍(Hán tự), rồng(Quốc ngữ), long ▶ Vietnamese dragon
The Korean dragon is a certain type of dragon associated with Korean mythology. Like its peers, the Korean dragon is culture-specific, which means it has unique properties that differentiate it from dragons in other cultures. It is generally comparable to its Chinese counterpart in appearance and cultural significance.
Korean dragons
The Korean dragon is derived from Chinese dragon. Whereas most dragons in Western mythology are generally related to the elements of fire and destruction, dragons in Korean mythology are mostly viewed as benevolent beings related to water and agriculture, often considered bringers of rain and clouds. Hence, many Korean dragons are said to have resided in rivers, lakes, oceans or even deep ponds within mountains.
The symbol of the dragon has been used extensively, both in Korean mythology and ancient Korean art. Politically, the dragon represents the Emperor, who himself was associated with rain and agriculture. Hence, those who used the title of King (Wang) were forbidden from wearing dragon adornments; the Fenghuang is the creature traditionally associated with a king.
Ancient texts sometimes mention sentient speaking dragons, capable of understanding such complex emotions such as devotion, kindness, and gratitude. One particular Korean legend speaks of the great King Munmu, who on his deathbed wished to become a "Dragon of the East Sea in order to protect Korea."
The Korean dragon was said to have certain specific traits: no wings, for example, in addition to a long beard. It is in many ways very similar in appearance to dragons of Chinese and Japanese mythology, which is not hard to understand since they all have the same Chinese origin.
Very occasionally a dragon may be depicted as carrying a dragon orb known as the Yeo-ui-ju (여의주) in one or more of its claws. It was said that whoever could wield the Yeo-ui-ju was blessed with the abilities of omnipotence and creation at will, and that only four-toed dragons (those which had thumbs to hold the orbs) were both wise and powerful enough to wield these orbs (as opposed to the lesser, three-toed dragons).
As with Chinese dragons, the number nine is significant with Korean dragons and they are said to have 81 (9x9) scales on their backs.
Imoogi (이무기)
A close relative to the dragon is a native Korean mythological creature known as an Imugi. There are different stories about the Imoogi: Some, for example, say that they are hornless creatures resembling dragons but have been cursed, and thus were unable to become dragons. Other say that an Imugi is a proto-dragon which must survive one thousand years in order to become a fully fledged dragon. In either case they are said to be large benevolent python-like creatures that live in the waters or caves. Their sighting is associated with good luck.
In the Korean film titled D-War, two Imoogi were seen, one of which took a dragon orb and became a dragon. In this film, however, one of the Imoogi (the one that failed to become a dragon) was portrayed as totally evil, and was killed by the one that became a dragon.
Korean cockatrice
The Korean cockatrice is known as a kye-ryong (계룡), which literally means chicken-dragon; they do not appear as often as dragons. They are sometimes seen as chariot-pulling beasts for important legendary figures or for the parents of legendary heroes. One such legend involves the founding of the Kingdom of Silla, whose princess was said to have been born from a cockatrice egg.
See also
Chinese mythology
Fenghuang
Culture of China
Dragon
Dragon boat race
Dragon dance
Dragon Kung Fu
Imperial guardian lions
Lion dance
Persian dragon
European dragon
Japanese dragon
Korean dragon
Vietnamese dragon
List of dragons in mythology and folklore
Long Mu (Dragon's Mother)
An Instinct for Dragons, hypothesis about the origin of dragon myths.
Links
http://en.wikipedia.org/wiki/Korean_dragon
http://en.wikipedia.org/wiki/Category:Dragons
Tuesday, January 8, 2008
Fenrir (Norse)
Fenrir
In Norse mythology, Fenrir (Old Norse "fen-dweller"), Fenrisúlfr (Old Norse "Fenris wolf"), Hróðvitnir (Old Norse "fame-wolf"), or Vánagandr (Old Norse "the monster of the river Ván") is a monstrous wolf. Fenrir is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, and the Prose Edda and Heimskringla, written in the 13th century by Snorri Sturluson. In both the Poetic Edda and Prose Edda, Fenrir is the father of the wolves Sköll and Hati Hróðvitnisson, is a son of Loki, and is foretold to kill the god Odin during the events of Ragnarök, but will in turn be killed by Odin's son Víðarr.
In the Prose Edda, additional information is given about Fenrir, including that, due to the gods' knowledge of prophecies foretelling great trouble from Fenrir and his rapid growth, the gods bound him, and as a result Fenrir bit off the right hand of the god Týr. Depictions of Fenrir have been identified on various objects, and scholarly theories have been proposed regarding Fenrir's relation to other canine beings in Norse mythology. Fenrir has been the subject of artistic depictions, and he appears in literature.
Attestations
Poetic Edda
Fenrir is mentioned in three stanzas of the poem Völuspá, and in two stanzas of the poem Vafþrúðnismál. In stanza 40 of the poem Völuspá, a völva divulges to Odin that, in the east, an old woman sat in the forest Járnviðr, "and bred there the broods of Fenrir. There will come from them all one of that number to be a moon-snatcher in troll's skin." Further into the poem, the völva foretells that Odin will be consumed by Fenrir at Ragnarök:
Then is fulfilled Hlín's
second sorrow,
when Óðinn goes
to fight with the wolf,
and Beli's slayer,
bright, against Surtr.
Then shall Frigg's
sweet friend fall.
In the stanza that follows, the völva describes that Odin's "tall child of Triumph's Sire" (Odin's son Víðarr) will then come to "strike at the beast of slaughter," and with his hands, he will drive a sword into the heart of "Hveðrungr's son," avenging the death of his father.
In the first of two stanzas mentioning Fenrir in Vafþrúðnismál, Odin poses a question to the wise jötunn Vafþrúðnir:
"Much I have travelled, much have I tried out,
much have I tested the Powers;
from where will a sun come into the smooth heaven
when Fenrir has assailed this one?"
In the stanza that follows, Vafþrúðnir responds that Sól (here referred to as Álfröðull), will bear a daughter before Fenrir attacks her, and that this daughter shall continue the paths of her deceased mother through the heavens.
Prose Edda
In the Prose Edda, Fenrir is mentioned in three books: Gylfaginning, Skáldskaparmál and Háttatal.
Gylfaginning chapters 13 and 25
In chapter 13 of the Prose Edda book Gylfaginning, Fenrir is first mentioned in a stanza quoted from Völuspá. Fenrir is first mentioned in prose in chapter 25, where the enthroned figure of High tells Gangleri (described as King Gylfi in disguise) about the god Týr. High says that one example of Týr's bravery is that when the Æsir were luring Fenrir (referred to here as Fenrisúlfr) to place the fetter Gleipnir on the wolf. Fenrir did not trust that they would let him go until the Æsir placed Týr's hand into Fenrir's mouth as a pledge. As a result, when the Æsir refused to release him, he bit off Týr's hand at a location "now called the wolf-joint" (the wrist), causing Týr to be one-handed and "not considered to be a promoter of settlements between people."
Gylfaginning chapter 34
In chapter 34, High describes Loki, and says that Loki had three children with a female jötunn named Angrboða located in the land of Jötunheimr; Fenrisúlfr, the serpent Jörmungandr, and the female being Hel. High continues that, once the gods found that these three children were being brought up in the land of Jötunheimr, and when the gods "traced prophecies that from these siblings great mischief and disaster would arise for them" the gods expected a lot of trouble from the three children, partially due to the nature of the mother of the children, yet worse so due to the nature of their father.
High says that Odin sent the gods to gather the children and bring them to him. Upon their arrival, Odin threw Jörmungandr into "that deep sea that lies round all lands", and then threw Hel into Niflheim, and bestowed upon her authority over nine worlds. However, the Æsir brought up the wolf "at home", and only Týr had the courage to approach Fenrir, and give Fenrir food. The gods noticed that Fenrir was growing rapidly every day, and since all prophecies foretold that Fenrir was destined to cause them harm, the gods formed a plan. The gods prepared three fetters: The first, greatly strong, was called Leyding. They brought Leyding to Fenrir and suggested that the wolf try his strength with it. Fenrir judged that it was not beyond his strength, and so let the gods do what they wanted with it. At Fenrir's first kick the bind snapped, and Fenrir loosened himself from Leyding. The gods made a second fetter, twice as strong, and named it Dromi. The gods asked Fenrir to try the new fetter, and that should he break this feat of engineering, Fenrir would achieve great fame for his strength. Fenrir considered that the fetter was very strong, yet also that his strength had grown since he broke Leyding, yet that he would have to take some risks if he were to become famous. Fenrir allowed them to place the fetter.
When the Æsir exclaimed that they were ready, Fenrir shook himself, knocked the fetter to ground, strained hard, and kicking with his feet, snapped the fetter – breaking it into pieces that flew far into the distance. High says that, as a result, to "loose from Leyding" or to "strike out of Dromi" have become sayings for when something is achieved with great effort. The Æsir started to fear that they would not be able to bind Fenrir, and so Odin sent Freyr's messenger Skírnir down into the land of Svartálfaheimr to "some dwarves" and had them make a fetter called Gleipnir. The dwarves constructed Gleipnir from six mythical ingredients. After an exchange between Gangleri and High, High continues that the fetter was smooth and soft as a silken ribbon, yet strong and firm. The messenger brought the ribbon to the Æsir, and they thanked him heartily for completing the task.
The Æsir went out on to the lake Amsvartnir (Old Norse "pitch black"), sent for Fenrir to accompany them, and continued to the island Lyngvi (Old Norse "a place overgrown with heather"). The gods showed Fenrir the silken fetter Gleipnir, told him to tear it, stated that it was much stronger than it appeared, passed it among themselves, used their hands to pull it, and yet it did not tear. However, they said that Fenrir would be able to tear it, to which Fenrir replied:
"It looks to me that with this ribbon as though I will gain no fame from it if I do tear apart such a slender band, but if it is made with art and trickery, then even if it does look thin, this band is not going on my legs."
The Æsir said Fenrir would quickly tear apart a thin silken strip, noting that Fenrir earlier broke great iron binds, and added that if Fenrir wasn't able to break slender Gleipnir then Fenrir is nothing for the gods to fear, and as a result would be freed. Fenrir responded:
"If you bind me so that I am unable to release myself, then you will be standing by in such a way that I should have to wait a long time before I got any help from you. I am reluctant to have this band put on me. But rather than that you question my courage, let someone put his hand in my mouth as a pledge that this is done in good faith."
With this statement, all of the Æsir look to one another, finding themselves in a dilemma. Everyone refused to place their hand in Fenrir's mouth until Týr put out his right hand and placed it into the wolf's jaws. When Fenrir kicked, Gleipnir caught tightly, and the more Fernrir struggled, the stronger the band grew. At this, everyone laughed, except Týr, who there lost his right hand. When the gods knew that Fenrir was fully bound, they took a cord called Gelgja (Old Norse "fetter") hanging from Gleipnir, inserted the cord through a large stone slab called Gjöll (Old Norse "scream"), and the gods fastened the stone slab deep into the ground. After, the gods took a great rock called Thviti (Old Norse "hitter, batterer"), and thrust it even further into the ground as an anchoring peg. Fenrir reacted violently; he opened his jaws very widely, and tried to bite the gods. The gods thrust "a certain sword" into Fenrir's mouth, the hilt of the sword on Fenrir's lower gums and the point his upper gums. Fenrir "howled horribly," saliva ran from his mouth, and this saliva formed the river Ván (Old Norse "hope"). There Fenrir will lie until Ragnarök. Gangleri comments that Loki created a "pretty terrible family" though important, and asks why the Æsir did not just kill Fenrir there since they expected great malice from him. High replies that "so greatly did the gods respect their holy places and places of sanctuary that they did not want to defile them with the wolf's blood even though the prophecies say that he will be the death of Odin."
Gylfaginning chapters 38 and 51
In chapter 38, High says that there are many men in Valhalla, and many more who will arrive, yet they will "seem too few when the wolf comes." In chapter 51, High foretells that as part of the events of Ragnarök, after Fenrir's son Sköll has swallowed the sun and his other son Hati Hróðvitnisson has swallowed the moon, the stars will disappear from the sky. The earth will shake violently, trees will be uprooted, mountains will fall, and all binds will snap – Fenrisúlfr will be free. Fenrisúlfr will go forth with his mouth opened wide, his upper jaw touching the sky and his lower jaw the earth, and flames will burn from his eyes and nostrils. Later, Fenrisúlfr will arrive at the field Vígríðr with his brother Jörmungandr. With the forces assembled there, an immense battle will take place. During this, Odin will ride to fight Fenrisúlfr. During the battle, Fenrisúlfr will eventually swallow Odin, killing him, and Odin's son Víðarr will move forward and kick one foot into the lower jaw of the wolf. This foot will bear a legendary shoe "for which the material has been collected throughout all time." With one hand, Víðarr will take hold of the wolf's upper jaw and tear apart his mouth, killing Fenrisúlfr. High follows this prose description by citing various quotes from Völuspá in support, some of which mention Fenrir.
Skáldskaparmál and Háttatal
In the Epilogue section of the Prose Edda book Skáldskaparmál, a euhemerized monologue equates Fenrisúlfr to Pyrrhus, attempting to rationalize that "it killed Odin, and Pyrrhus could be said to be a wolf according to their religion, for he paid no respect to places of sanctuary when he killed the king in the temple in front of Thor's altar." In chapter 2, "wolf's enemy" is cited as a kenning for Odin as used by the 10th century skald Egill Skallagrímsson. In chapter 9, "feeder of the wolf" is given as a kenning for Týr and, in chapter 11, "slayer of Fenrisúlfr" is presented as a kenning for Víðarr. In chapter 50, a section of Ragnarsdrápa by the 9th century skald Bragi Boddason is quoted that refers to Hel, the being, as "the monstrous wolf's sister." In chapter 75, names for wargs and wolves are list, including both "Hróðvitnir" and "Fenrir." "Fenrir" appears twice in verse as a common noun for a "wolf" or "warg" in chapter 58 of Skáldskaparmál, and in chapter 56 of the book Háttatal. Additionally, the name "Fenrir" can be found among a list of jötnar in chapter 75 of Skáldskaparmál.
Heimskringla
A 17th century manuscript illustration of the bound Fenrir, the river Ván flowing from his jaws. At the end of the Heimskringla saga Hákonar saga góða, the poem Hákonarmál by the 10th century skald Eyvindr skáldaspillir is presented. The poem is about the fall of King Haakon I of Norway; although he is Christian, he is taken by two valkyries to Valhalla, and is there received as one of the Einherjar. Towards the end of the poem, a stanza relates sooner will the bonds of Fenrir snap than as good a king as Haakon shall stand in his place:
Unfettered will fare the Fenris Wolf
and ravaged the realm of men,
ere that cometh a kingly prince
as good, to stand in his stead.
Archaeological record
Thorwald's Cross
Thorwald's Cross, a partially surviving runestone erected at Kirk Andreas on the Isle of Man, depicts a bearded human holding a spear downward at a wolf, his right foot in its mouth, while a large bird sits at his shoulder. Rundata dates it to 940, while Pluskowski dates it to the 11th century. This depiction has been interpreted as Odin, with a raven or eagle at his shoulder, being consumed by Fenrir at Ragnarök. Next to the image is a depiction of a large cross and another image parallel to it that has been described as Christ triumphing over Satan. These combined elements have led to the cross as being described as "syncretic art"; a mixture of pagan and Christian beliefs.
Gosforth Cross
The mid-11th century Gosforth Cross, located in Cumbria, England, has been described as depicting a combination of scenes from the Christian Judgement Day and the pagan Ragnarök. The cross features various figures depicted in Borre style, including a man with a spear facing a monstrous head, one of whose feet is thrust into the beast's forked tongue and on its lower jaw, while a hand is placed against its upper jaw, a scene interpreted as Víðarr fighting Fenrir. This depiction has been theorized as a metaphor for Christ's defeat of Satan.
Ledberg stone
The 11th century Ledberg stone in Sweden, similarly to Thorwald's Cross, features a figure with his foot at the mouth of a four-legged beast, and this may also be a depiction of Odin being devoured by Fenrir at Ragnarök. Below the beast and the man is a depiction of a legless, helmeted man, with his arms in a prostrate position. The Younger Futhark inscription on the stone bears a commonly seen memorial dedication, but is followed by an encoded runic sequence that has been described as "mysterious," and "an interesting magic formula which is known from all over the ancient Norse world."
Hell Mouth
Meyer Schapiro theorizes a connection between the "Hell Mouth" that appears in medieval Christian iconography and Fenrir. According to Schapiro, "the Anglo-Saxon taste for the Hell Mouth was perhaps influenced by the northern pagan myth of the Crack of Doom and the battle with the wolf, who devoured Odin."
Theories
In reference to Fenrir's presentation in the Prose Edda, Andy Orchard theorizes that "the hound (or wolf)" Garmr, Sköll, and Hati Hróðvitnisson were originally simply all Fenrir, stating that "Snorri, characteristically, is careful to make distinctions, naming the wolves who devour the sun and moon as Sköll and Hati Hróðvitnisson respectively, and describing an encounter between Garm and Týr (who, one would have thought, might like to get his hand on Fenrir) at Ragnarök."
John Lindow says that it is unclear why the gods decide to raise Fenrir as opposed to his siblings Hel and Jörmungandr in Gylfaginning chapter 35, theorizing that it may be "because Odin had a connection with wolves? Because Loki was Odin's blood brother?" Referring to the same chapter, Lindow comments that neither of the phrases that Fenrir's binding result in have left any other traces. Lindow compares Fenrir's role to his father Loki and Fenrir's brother Jörmungandr, in that they all spend time with the gods, are bound or cast out by them, return "at the end of the current mythic order to destroy them, only to be destroyed himself as a younger generation of gods, one of them his slayer, survives into the new world order."
Indo-European parallels have been proposed between myths of Fenrir and the Persian demon Ahriman. The Yashts refer to a story where Taxma Urupi rode Angra Mainyu as a horse for thirty years. An elaboration of this allusion is found only in a late Parsi commentary. The ruler Taxmoruw (Taxma Urupi) managed to lasso Ahriman (Angra Mainyu) and keep him tied up while taking him for a ride three times a day. After thirty years Ahriman outwitted and swallowed Taxmoruw. In a sexual encounter with Ahriman, Jamshid, Taxmoruw's brother, inserted his hand into Ahriman's anus and pulled out his brother's corpse. His hand withered from contact with the diabolic innards. The suggested parallels with Fenrir myths are the binding of an evil being by a ruler figure and the subsequent swallowing of the ruler figure by the evil being (Odin and Fenrir), trickery involving the thrusting of a hand into a monster's orifice and the affliction of the inserted limb (Týr and Fenrir).
Ethologist Dr. Valerius Geist of the University of Calgary, Alberta wrote that Fenrir's maiming and ultimate killing of Odin, who had previously nurtured him, was likely based on true experiences of wolf behaviour, seeing as wolves are genetically encoded to rise up the pack hierarchy and have on occasion been recorded to rebel against and kill their parents. On occasion in captivity, subordinate wolves may rise up and challenge the dominant pair; such revolts may result in daughters killing mothers and sons killing fathers. This behavior has never been documented in the wild, and it is hypothesized that it only happens in captivity because dispersal is impossible. Geist states that "apparently, even the ancients knew that wolves may turn on their parents and siblings and kill them."
Modern influence
Fenrir has been depicted in the artwork "Odin and Fenris" (1909) and "The Binding of Fenris" (around 1900) by Dorothy Hardy, "Odin und Fenriswolf" and "Fesselung des Fenriswolfe" (1901) by Emil Doepler, and is the subject of the metal sculpture "Fenrir" by A. V. Gunnerud located on the island of Askøy, Norway. Fenrir appears in modern literature in the poem "Om Fenrisulven og Tyr" (1819) by Adam Gottlob Oehlenschläger (collected in Nordens Guder), the novel Der Fenriswolf by K. H. Strobl, and Til kamp mod dødbideriet (1974) by E. K. Reich and E. Larsen.
http://en.wikipedia.org/wiki/Fenrir
Wolves in Norse mythology
In Norse mythology, Fenrir (Old Norse "fen-dweller"), Fenrisúlfr (Old Norse "Fenris wolf"), Hróðvitnir (Old Norse "fame-wolf"), or Vánagandr (Old Norse "the monster of the river Ván") is a monstrous wolf. Fenrir is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, and the Prose Edda and Heimskringla, written in the 13th century by Snorri Sturluson. In both the Poetic Edda and Prose Edda, Fenrir is the father of the wolves Sköll and Hati Hróðvitnisson, is a son of Loki, and is foretold to kill the god Odin during the events of Ragnarök, but will in turn be killed by Odin's son Víðarr.
In the Prose Edda, additional information is given about Fenrir, including that, due to the gods' knowledge of prophecies foretelling great trouble from Fenrir and his rapid growth, the gods bound him, and as a result Fenrir bit off the right hand of the god Týr. Depictions of Fenrir have been identified on various objects, and scholarly theories have been proposed regarding Fenrir's relation to other canine beings in Norse mythology. Fenrir has been the subject of artistic depictions, and he appears in literature.
Attestations
Poetic Edda
Fenrir is mentioned in three stanzas of the poem Völuspá, and in two stanzas of the poem Vafþrúðnismál. In stanza 40 of the poem Völuspá, a völva divulges to Odin that, in the east, an old woman sat in the forest Járnviðr, "and bred there the broods of Fenrir. There will come from them all one of that number to be a moon-snatcher in troll's skin." Further into the poem, the völva foretells that Odin will be consumed by Fenrir at Ragnarök:
Then is fulfilled Hlín's
second sorrow,
when Óðinn goes
to fight with the wolf,
and Beli's slayer,
bright, against Surtr.
Then shall Frigg's
sweet friend fall.
In the stanza that follows, the völva describes that Odin's "tall child of Triumph's Sire" (Odin's son Víðarr) will then come to "strike at the beast of slaughter," and with his hands, he will drive a sword into the heart of "Hveðrungr's son," avenging the death of his father.
In the first of two stanzas mentioning Fenrir in Vafþrúðnismál, Odin poses a question to the wise jötunn Vafþrúðnir:
"Much I have travelled, much have I tried out,
much have I tested the Powers;
from where will a sun come into the smooth heaven
when Fenrir has assailed this one?"
In the stanza that follows, Vafþrúðnir responds that Sól (here referred to as Álfröðull), will bear a daughter before Fenrir attacks her, and that this daughter shall continue the paths of her deceased mother through the heavens.
Prose Edda
In the Prose Edda, Fenrir is mentioned in three books: Gylfaginning, Skáldskaparmál and Háttatal.
Gylfaginning chapters 13 and 25
In chapter 13 of the Prose Edda book Gylfaginning, Fenrir is first mentioned in a stanza quoted from Völuspá. Fenrir is first mentioned in prose in chapter 25, where the enthroned figure of High tells Gangleri (described as King Gylfi in disguise) about the god Týr. High says that one example of Týr's bravery is that when the Æsir were luring Fenrir (referred to here as Fenrisúlfr) to place the fetter Gleipnir on the wolf. Fenrir did not trust that they would let him go until the Æsir placed Týr's hand into Fenrir's mouth as a pledge. As a result, when the Æsir refused to release him, he bit off Týr's hand at a location "now called the wolf-joint" (the wrist), causing Týr to be one-handed and "not considered to be a promoter of settlements between people."
Gylfaginning chapter 34
In chapter 34, High describes Loki, and says that Loki had three children with a female jötunn named Angrboða located in the land of Jötunheimr; Fenrisúlfr, the serpent Jörmungandr, and the female being Hel. High continues that, once the gods found that these three children were being brought up in the land of Jötunheimr, and when the gods "traced prophecies that from these siblings great mischief and disaster would arise for them" the gods expected a lot of trouble from the three children, partially due to the nature of the mother of the children, yet worse so due to the nature of their father.
High says that Odin sent the gods to gather the children and bring them to him. Upon their arrival, Odin threw Jörmungandr into "that deep sea that lies round all lands", and then threw Hel into Niflheim, and bestowed upon her authority over nine worlds. However, the Æsir brought up the wolf "at home", and only Týr had the courage to approach Fenrir, and give Fenrir food. The gods noticed that Fenrir was growing rapidly every day, and since all prophecies foretold that Fenrir was destined to cause them harm, the gods formed a plan. The gods prepared three fetters: The first, greatly strong, was called Leyding. They brought Leyding to Fenrir and suggested that the wolf try his strength with it. Fenrir judged that it was not beyond his strength, and so let the gods do what they wanted with it. At Fenrir's first kick the bind snapped, and Fenrir loosened himself from Leyding. The gods made a second fetter, twice as strong, and named it Dromi. The gods asked Fenrir to try the new fetter, and that should he break this feat of engineering, Fenrir would achieve great fame for his strength. Fenrir considered that the fetter was very strong, yet also that his strength had grown since he broke Leyding, yet that he would have to take some risks if he were to become famous. Fenrir allowed them to place the fetter.
When the Æsir exclaimed that they were ready, Fenrir shook himself, knocked the fetter to ground, strained hard, and kicking with his feet, snapped the fetter – breaking it into pieces that flew far into the distance. High says that, as a result, to "loose from Leyding" or to "strike out of Dromi" have become sayings for when something is achieved with great effort. The Æsir started to fear that they would not be able to bind Fenrir, and so Odin sent Freyr's messenger Skírnir down into the land of Svartálfaheimr to "some dwarves" and had them make a fetter called Gleipnir. The dwarves constructed Gleipnir from six mythical ingredients. After an exchange between Gangleri and High, High continues that the fetter was smooth and soft as a silken ribbon, yet strong and firm. The messenger brought the ribbon to the Æsir, and they thanked him heartily for completing the task.
The Æsir went out on to the lake Amsvartnir (Old Norse "pitch black"), sent for Fenrir to accompany them, and continued to the island Lyngvi (Old Norse "a place overgrown with heather"). The gods showed Fenrir the silken fetter Gleipnir, told him to tear it, stated that it was much stronger than it appeared, passed it among themselves, used their hands to pull it, and yet it did not tear. However, they said that Fenrir would be able to tear it, to which Fenrir replied:
"It looks to me that with this ribbon as though I will gain no fame from it if I do tear apart such a slender band, but if it is made with art and trickery, then even if it does look thin, this band is not going on my legs."
The Æsir said Fenrir would quickly tear apart a thin silken strip, noting that Fenrir earlier broke great iron binds, and added that if Fenrir wasn't able to break slender Gleipnir then Fenrir is nothing for the gods to fear, and as a result would be freed. Fenrir responded:
"If you bind me so that I am unable to release myself, then you will be standing by in such a way that I should have to wait a long time before I got any help from you. I am reluctant to have this band put on me. But rather than that you question my courage, let someone put his hand in my mouth as a pledge that this is done in good faith."
With this statement, all of the Æsir look to one another, finding themselves in a dilemma. Everyone refused to place their hand in Fenrir's mouth until Týr put out his right hand and placed it into the wolf's jaws. When Fenrir kicked, Gleipnir caught tightly, and the more Fernrir struggled, the stronger the band grew. At this, everyone laughed, except Týr, who there lost his right hand. When the gods knew that Fenrir was fully bound, they took a cord called Gelgja (Old Norse "fetter") hanging from Gleipnir, inserted the cord through a large stone slab called Gjöll (Old Norse "scream"), and the gods fastened the stone slab deep into the ground. After, the gods took a great rock called Thviti (Old Norse "hitter, batterer"), and thrust it even further into the ground as an anchoring peg. Fenrir reacted violently; he opened his jaws very widely, and tried to bite the gods. The gods thrust "a certain sword" into Fenrir's mouth, the hilt of the sword on Fenrir's lower gums and the point his upper gums. Fenrir "howled horribly," saliva ran from his mouth, and this saliva formed the river Ván (Old Norse "hope"). There Fenrir will lie until Ragnarök. Gangleri comments that Loki created a "pretty terrible family" though important, and asks why the Æsir did not just kill Fenrir there since they expected great malice from him. High replies that "so greatly did the gods respect their holy places and places of sanctuary that they did not want to defile them with the wolf's blood even though the prophecies say that he will be the death of Odin."
Gylfaginning chapters 38 and 51
In chapter 38, High says that there are many men in Valhalla, and many more who will arrive, yet they will "seem too few when the wolf comes." In chapter 51, High foretells that as part of the events of Ragnarök, after Fenrir's son Sköll has swallowed the sun and his other son Hati Hróðvitnisson has swallowed the moon, the stars will disappear from the sky. The earth will shake violently, trees will be uprooted, mountains will fall, and all binds will snap – Fenrisúlfr will be free. Fenrisúlfr will go forth with his mouth opened wide, his upper jaw touching the sky and his lower jaw the earth, and flames will burn from his eyes and nostrils. Later, Fenrisúlfr will arrive at the field Vígríðr with his brother Jörmungandr. With the forces assembled there, an immense battle will take place. During this, Odin will ride to fight Fenrisúlfr. During the battle, Fenrisúlfr will eventually swallow Odin, killing him, and Odin's son Víðarr will move forward and kick one foot into the lower jaw of the wolf. This foot will bear a legendary shoe "for which the material has been collected throughout all time." With one hand, Víðarr will take hold of the wolf's upper jaw and tear apart his mouth, killing Fenrisúlfr. High follows this prose description by citing various quotes from Völuspá in support, some of which mention Fenrir.
Skáldskaparmál and Háttatal
In the Epilogue section of the Prose Edda book Skáldskaparmál, a euhemerized monologue equates Fenrisúlfr to Pyrrhus, attempting to rationalize that "it killed Odin, and Pyrrhus could be said to be a wolf according to their religion, for he paid no respect to places of sanctuary when he killed the king in the temple in front of Thor's altar." In chapter 2, "wolf's enemy" is cited as a kenning for Odin as used by the 10th century skald Egill Skallagrímsson. In chapter 9, "feeder of the wolf" is given as a kenning for Týr and, in chapter 11, "slayer of Fenrisúlfr" is presented as a kenning for Víðarr. In chapter 50, a section of Ragnarsdrápa by the 9th century skald Bragi Boddason is quoted that refers to Hel, the being, as "the monstrous wolf's sister." In chapter 75, names for wargs and wolves are list, including both "Hróðvitnir" and "Fenrir." "Fenrir" appears twice in verse as a common noun for a "wolf" or "warg" in chapter 58 of Skáldskaparmál, and in chapter 56 of the book Háttatal. Additionally, the name "Fenrir" can be found among a list of jötnar in chapter 75 of Skáldskaparmál.
Heimskringla
A 17th century manuscript illustration of the bound Fenrir, the river Ván flowing from his jaws. At the end of the Heimskringla saga Hákonar saga góða, the poem Hákonarmál by the 10th century skald Eyvindr skáldaspillir is presented. The poem is about the fall of King Haakon I of Norway; although he is Christian, he is taken by two valkyries to Valhalla, and is there received as one of the Einherjar. Towards the end of the poem, a stanza relates sooner will the bonds of Fenrir snap than as good a king as Haakon shall stand in his place:
Unfettered will fare the Fenris Wolf
and ravaged the realm of men,
ere that cometh a kingly prince
as good, to stand in his stead.
Archaeological record
Thorwald's Cross
Thorwald's Cross, a partially surviving runestone erected at Kirk Andreas on the Isle of Man, depicts a bearded human holding a spear downward at a wolf, his right foot in its mouth, while a large bird sits at his shoulder. Rundata dates it to 940, while Pluskowski dates it to the 11th century. This depiction has been interpreted as Odin, with a raven or eagle at his shoulder, being consumed by Fenrir at Ragnarök. Next to the image is a depiction of a large cross and another image parallel to it that has been described as Christ triumphing over Satan. These combined elements have led to the cross as being described as "syncretic art"; a mixture of pagan and Christian beliefs.
Gosforth Cross
The mid-11th century Gosforth Cross, located in Cumbria, England, has been described as depicting a combination of scenes from the Christian Judgement Day and the pagan Ragnarök. The cross features various figures depicted in Borre style, including a man with a spear facing a monstrous head, one of whose feet is thrust into the beast's forked tongue and on its lower jaw, while a hand is placed against its upper jaw, a scene interpreted as Víðarr fighting Fenrir. This depiction has been theorized as a metaphor for Christ's defeat of Satan.
Ledberg stone
The 11th century Ledberg stone in Sweden, similarly to Thorwald's Cross, features a figure with his foot at the mouth of a four-legged beast, and this may also be a depiction of Odin being devoured by Fenrir at Ragnarök. Below the beast and the man is a depiction of a legless, helmeted man, with his arms in a prostrate position. The Younger Futhark inscription on the stone bears a commonly seen memorial dedication, but is followed by an encoded runic sequence that has been described as "mysterious," and "an interesting magic formula which is known from all over the ancient Norse world."
Hell Mouth
Meyer Schapiro theorizes a connection between the "Hell Mouth" that appears in medieval Christian iconography and Fenrir. According to Schapiro, "the Anglo-Saxon taste for the Hell Mouth was perhaps influenced by the northern pagan myth of the Crack of Doom and the battle with the wolf, who devoured Odin."
Theories
In reference to Fenrir's presentation in the Prose Edda, Andy Orchard theorizes that "the hound (or wolf)" Garmr, Sköll, and Hati Hróðvitnisson were originally simply all Fenrir, stating that "Snorri, characteristically, is careful to make distinctions, naming the wolves who devour the sun and moon as Sköll and Hati Hróðvitnisson respectively, and describing an encounter between Garm and Týr (who, one would have thought, might like to get his hand on Fenrir) at Ragnarök."
John Lindow says that it is unclear why the gods decide to raise Fenrir as opposed to his siblings Hel and Jörmungandr in Gylfaginning chapter 35, theorizing that it may be "because Odin had a connection with wolves? Because Loki was Odin's blood brother?" Referring to the same chapter, Lindow comments that neither of the phrases that Fenrir's binding result in have left any other traces. Lindow compares Fenrir's role to his father Loki and Fenrir's brother Jörmungandr, in that they all spend time with the gods, are bound or cast out by them, return "at the end of the current mythic order to destroy them, only to be destroyed himself as a younger generation of gods, one of them his slayer, survives into the new world order."
Indo-European parallels have been proposed between myths of Fenrir and the Persian demon Ahriman. The Yashts refer to a story where Taxma Urupi rode Angra Mainyu as a horse for thirty years. An elaboration of this allusion is found only in a late Parsi commentary. The ruler Taxmoruw (Taxma Urupi) managed to lasso Ahriman (Angra Mainyu) and keep him tied up while taking him for a ride three times a day. After thirty years Ahriman outwitted and swallowed Taxmoruw. In a sexual encounter with Ahriman, Jamshid, Taxmoruw's brother, inserted his hand into Ahriman's anus and pulled out his brother's corpse. His hand withered from contact with the diabolic innards. The suggested parallels with Fenrir myths are the binding of an evil being by a ruler figure and the subsequent swallowing of the ruler figure by the evil being (Odin and Fenrir), trickery involving the thrusting of a hand into a monster's orifice and the affliction of the inserted limb (Týr and Fenrir).
Ethologist Dr. Valerius Geist of the University of Calgary, Alberta wrote that Fenrir's maiming and ultimate killing of Odin, who had previously nurtured him, was likely based on true experiences of wolf behaviour, seeing as wolves are genetically encoded to rise up the pack hierarchy and have on occasion been recorded to rebel against and kill their parents. On occasion in captivity, subordinate wolves may rise up and challenge the dominant pair; such revolts may result in daughters killing mothers and sons killing fathers. This behavior has never been documented in the wild, and it is hypothesized that it only happens in captivity because dispersal is impossible. Geist states that "apparently, even the ancients knew that wolves may turn on their parents and siblings and kill them."
Modern influence
Fenrir has been depicted in the artwork "Odin and Fenris" (1909) and "The Binding of Fenris" (around 1900) by Dorothy Hardy, "Odin und Fenriswolf" and "Fesselung des Fenriswolfe" (1901) by Emil Doepler, and is the subject of the metal sculpture "Fenrir" by A. V. Gunnerud located on the island of Askøy, Norway. Fenrir appears in modern literature in the poem "Om Fenrisulven og Tyr" (1819) by Adam Gottlob Oehlenschläger (collected in Nordens Guder), the novel Der Fenriswolf by K. H. Strobl, and Til kamp mod dødbideriet (1974) by E. K. Reich and E. Larsen.
http://en.wikipedia.org/wiki/Fenrir
Wolves in Norse mythology
Monday, January 7, 2008
Elf (Germanic)
Elf
Grouping: Mythological creature
First reported: In folklore
Country: Scandinavia, Germany, Great Britain, United States
Habitat: Woodland
An elf (plural elves) is a being of Germanic mythology. The elves were originally thought of as a race of divine or semi-divine beings (wights, vættir) endowed with magical powers, which they use both for the benefit and the injury of mankind. In pre-Christian mythology, they appear to have been divided into light elves and dark elves, difficult to delineate from the Æsir (gods) on one hand and the dvergar (dwarves) on the other.
In early modern and modern folklore, they become associated with the fairies of the 19-century Romantic portrayal of English folklore and assume a diminutive size, often living underground in hills or rocks, or in wells and springs. 19th-century Romanticism attempted to restore them to full stature, often depicting them as very young, probably adolescent (lack of facial hair on male elves), men and women of great beauty. From their depiction in Romanticism, elves entered the 20th-century high fantasy genre in the wake of the publications of J. R. R. Tolkien, especially the posthumous publication of his Silmarillion where Tolkien's treatment of the relation of light elves, dark elves, black elves and dwarves in Norse mythology is made explicit.
http://en.wikipedia.org/wiki/Elf
Elves | English legendary creatures | Germanic paganism | Germanic legendary creatures
Grouping: Mythological creature
First reported: In folklore
Country: Scandinavia, Germany, Great Britain, United States
Habitat: Woodland
An elf (plural elves) is a being of Germanic mythology. The elves were originally thought of as a race of divine or semi-divine beings (wights, vættir) endowed with magical powers, which they use both for the benefit and the injury of mankind. In pre-Christian mythology, they appear to have been divided into light elves and dark elves, difficult to delineate from the Æsir (gods) on one hand and the dvergar (dwarves) on the other.
In early modern and modern folklore, they become associated with the fairies of the 19-century Romantic portrayal of English folklore and assume a diminutive size, often living underground in hills or rocks, or in wells and springs. 19th-century Romanticism attempted to restore them to full stature, often depicting them as very young, probably adolescent (lack of facial hair on male elves), men and women of great beauty. From their depiction in Romanticism, elves entered the 20th-century high fantasy genre in the wake of the publications of J. R. R. Tolkien, especially the posthumous publication of his Silmarillion where Tolkien's treatment of the relation of light elves, dark elves, black elves and dwarves in Norse mythology is made explicit.
http://en.wikipedia.org/wiki/Elf
Elves | English legendary creatures | Germanic paganism | Germanic legendary creatures
Saturday, November 17, 2007
La Brea Tar Pits
La Brea Tar Pits
| Description | La Brea Tar Pits, Mammoths in the Tar Pits 라브레아 타르피트 공원 |
| Date | 29 June 2007 |
| Source | Wikimedia Commons |
| Author | MyName (3scandal0) |
| Camera location | . |
| Permission | Public Domain |
| Licensing | The copyright holder of this work has released this work into the public domain. This applies worldwide. In some countries this may not be legally possible; if so: The copyright holder grants anyone the right to use this work for any purpose, without any conditions, unless such conditions are required by law. |
From Wikimedia Commons http://commons.wikimedia.org/
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