Chinese dragon (龍)
Alternative Names (異名):
龍(Traditional Chinese), 龙(Simplified Chinese), Lóng(Hanyu Pinyin) ▶ Chinese dragon
龍(Hanja), 룡(Hangul), 용, ryong, yong, 미르(Traditional Korean) ▶ Korean dragon
龍(Kyūjitai), 竜(Shinjitai), りゅう(Hiragana), たつ ▶ Japanese dragon
龍(Hán tự), rồng(Quốc ngữ), long ▶ Vietnamese dragon
The Chinese dragon is a Chinese mythical creature, depicted as a long, scaled, snake-like creature with four claws. In contrast to the Western dragon which stands on four legs and which is usually portrayed as evil, Chinese dragon has long been a potent symbol of auspicious power in Chinese folklore and art. The Chinese dragon is traditionally also the embodiment of the concept of yang (male) and associated with the weather as the bringer of rain and water in an agriculturally water-driven nation. Its female counterpart is the Fenghuang.
Symbolism
The dragon is sometimes used in the West as a national emblem of China. However, this usage within both the People's Republic of China and the Republic of China on Taiwan is rare.
Firstly, the dragon was historically the symbol of the Emperor of China. Starting with the Yuan Dynasty, regular citizens were forbidden to associate themselves with the symbol. The dragon re-emerged during the Qing Dynasty and appeared on national flags
Secondly, the dragon has aggressive, warlike connotations that the Chinese government wishes to avoid. It is for these reasons that the giant panda is far more often used within China as a national emblem than the dragon. In Hong Kong, however, the dragon is part of the design of Brand Hong Kong, a symbol used to promote Hong Kong as an international brand name
Many Chinese people often use the term "Descendants of the Dragon" (龍的傳人) as a sign of ethnic identity, as part of a trend started in the 1970s when different Asian nationalities were looking for animal symbols for representations. The wolf was used among the Mongols, the monkey among Tibetans.
In Chinese culture today, it is mostly used for decorative purposes. It is a taboo to disfigure a depiction of a dragon; for example, an advertisement campaign commissioned by Nike, which featured the American basketball player LeBron James slaying a dragon (as well as beating up an old Kung Fu master), was immediately censored by the Chinese government after public outcry over disrespect.
A number of Chinese proverbs and idioms also feature references to the dragon, for example: "Hoping one's son will become a dragon" (望子成龍, i.e. be as successful and powerful as a dragon).
Dragon worship
Origin
The origin of Chinese dragon is not certain, but many scholars agree that it originated from totems of different tribes in China. Some have suggested that it comes from a stylized depiction of existing animals, such as snakes, fish, or crocodiles. For example, the Banpo site of the Yangshao culture in Shaanxi featured an elongated, snake-like fish motif. Archaeologists believe the "long fish" to have evolved into images of the Chinese dragon. The association with fish is reflected in the legend of a carp that saw the top of a mountain and decided he was going to reach it. He swam upstream, climbing rapids and waterfalls letting nothing get in the way of his determination. When he reached the top there was the mythical "Dragon Gate" and when he jumped over he became a dragon. Several waterfalls and cataracts in China are believed to be the location of the Dragon Gate. This legend is used as an allegory for the drive and effort needed to overcome obstacles and achieve success.
An alternative view, advocated by He Xin, is that the early dragon depicted a species of crocodile. Specifically, Crocodylus porosus, an ancient, giant crocodile. The crocodile is known to be able to accurately sense changes in air pressure, and be able to sense coming rain. This may have been the origin of the dragon's mythical attributes in controlling the weather, especially the rain. In addition, there is evidence of crocodile worship in ancient Babylonian, Indian, and Mayan civilizations. The association with the crocodile is also supported by the view in ancient times that large crocodiles are a variety of dragon. For example, in the Story of Zhou Chu, about the life of a Jin Dynasty warrior, he is said to have killed a "dragon" that infested the waters of his home village, which appears to have been a crocodile.
Others have proposed that its shape is the merger of totems of various tribes as the result of the merger of tribes. The coiled snake or dragon form played an important role in early Chinese culture. Legendary figures like Nüwa (女媧), Fuxi (伏羲) are depicted as having snake bodies. Some scholars report that the first legendary Emperor of China Huang Di (黃帝,Yellow Emperor) used a snake for his coat of arms. Every time he conquered another tribe, he incorporated his defeated enemy's emblem into his own. That explains why the dragon appears to have features of various animals.
"Coiled dragon" forms have been attributed to the Hongshan culture. Why the Hongshan peoples "coiled" their dragon motifs while other cultures did not? Possibly the sleeping dinosaur fossil may offer a suggestion, because it was discovered within the same province, Liaoning. Perhaps Hongshan peoples found additional "sleeping dinosaur" fossils.
There is no direct connection between the Chinese dragon and the western dragon.
The dragon as mythical creature
From its origins as totems or the stylized depiction of natural creatures, the Chinese dragon evolved to become a mythical animal. The Han Dynasty scholar Wang Fu recorded Chinese myths that long dragons had nine anatomical resemblances.
The people paint the dragon's shape with a horse's head and a snake's tail. Further, there are expressions as 'three joints' and 'nine resemblances' (of the dragon), to wit: from head to shoulder, from shoulder to breast, from breast to tail. These are the joints; as to the nine resemblances, they are the following: his horns resemble those of a stag, his head that of a camel, his eyes those of a demon, his neck that of a snake, his belly that of a clam (shen, 蜃), his scales those of a carp, his claws those of an eagle, his soles those of a tiger, his ears those of a cow. Upon his head he has a thing like a broad eminence (a big lump), called [chimu] (尺木). If a dragon has no [chimu], he cannot ascend to the sky.
Further sources give variant lists of the nine animal resemblances. Sinologist Henri Doré lists these characteristics of an authentic dragon: "The horns of a deer. The head of a camel. A demon's eyes. The neck of a snake. A tortoise's viscera. A hawk's claws. The palms of a tiger. A cow's ears. And it hears through its horns, its ears being deprived of all power of hearing." He notes that, "Others state it has a rabbit's eyes, a frog's belly, a carp's scales." The anatomy of other legendary creatures, including the chimera and manticore, is similarly amalgamated from fierce animals.
Chinese dragons are physically concise. Of the 117 scales, 81 are of the yang essence (positive) while 36 are of the yin essence (negative). This malevolent influence accounts for their destructive and aggressive side. Just as water destroys, so can the dragons in the form of floods, tidal waves and storms. Some of the worst floods were believed to have been the result of a mortal upsetting a dragon.
Many pictures of oriental dragons show a flaming pearl under their chin. The pearl is associated with wealth, good luck, and prosperity.
Chinese dragons are occasionally depicted with bat-like wings growing out of the front limbs, but most do not have wings, as their ability to fly (and control rain/water, etc.) are mythical and not seen as a result of their physical attributes.
This description accords with the artistic depictions of the dragon down to the present day. The dragon has also acquired an almost unlimited range of supernatural powers. It is said to be able to disguise itself as a silkworm, or become as large as our entire universe. It can fly among the clouds or hide in water (according to the Guanzi). It can form clouds, can turn into water or fire, can become invisible or glow in the dark (according to the Shuowen Jiezi)
The dragon as ruler of weather and water
Chinese dragons are strongly associated with water in popular belief. They are believed to be the rulers of moving bodies of water, such as waterfalls, rivers, or seas. They can show themselves as water spouts (tornado or twister over water). In this capacity as the rulers of water and weather, the dragon is more anthropomorphic in form, often depicted as a humanoid, dressed in a king's costume, but with a dragon head wearing a king's headdress.
There are four major Dragon Kings, representing each of the four seas: the East Sea (corresponding to the East China Sea), the South Sea (corresponding to the South China Sea), the West Sea (sometimes seen as the Indian Ocean and beyond), and the North Sea (sometimes seen as Lake Baikal).
Because of this association, they are seen as "in charge" of water-related weather phenomenon. In premodern times, many Chinese villages (especially those close to rivers and seas) had temples dedicated to their local "dragon king". In times of drought or flooding, it was customary for the local gentry and government officials to lead the community in offering sacrifices and conducting other religious rites to appease the dragon, either to ask for rain or a cessation thereof.
The King of Wu-Yue in the Five Dynasties and Ten Kingdoms period was often known as the "Dragon King" or the "Sea Dragon King" because of his extensive hydro-engineering schemes which "tamed" the seas.
The dragon as symbol of imperial authority
At the end of his reign, the first legendary Emperor Huang Di was said to have been immortalized into a dragon that resembled his emblem, and ascended to Heaven. Since the Chinese consider Huang Di as their ancestor, they sometimes refer to themselves as "the descendants of the dragon". This legend also contributed towards the use of the Chinese dragon as a symbol of imperial power.
The dragon, especially yellow or golden dragons with five claws on each foot, was a symbol for the emperor in many Chinese dynasties. The imperial throne was called the Dragon Throne. During the late Qing Dynasty, the dragon was even adopted as the national flag. It was a capital offense for commoners to wear clothes with a dragon symbol. The dragon is featured in the carvings on the steps of imperial palaces and tombs, such as the Forbidden City in Beijing.
In some Chinese legends, an Emperor might be born with a birthmark in the shape of a dragon. For example, one legend tells the tale of a peasant born with a dragon birthmark who eventually overthrows the existing dynasty and founds a new one; another legend might tell of the prince in hiding from his enemies who is identified by his dragon birthmark.
In contrast, the Empress of China was often identified with the Fenghuang
Modern belief in the Chinese dragon
In modern times, belief in the dragon appears to be sporadic at best. There appear to be very few who would see the dragon as a literally real creature. The worship of the Dragon Kings as rulers of water and weather continues in many areas, and is deeply ingrained in Chinese cultural traditions such as Chinese New Year celebrations. They also used dragon kites in celebrations.
Depictions of the dragon
Neolithic depictions
Dragons or dragon-like depictions have been found extensively in neolithic-period archaeological sites throughout China. The earliest depiction of dragons was found at Xinglongwa culture sites. Yangshao culture sites in Xi'an have produced clay pots with dragon motifs. The Liangzhu culture also produced dragon-like patterns. The Hongshan culture sites in present-day Inner Mongolia produced jade dragon amulets in the form of pig dragons.
One such early form was the pig dragon. It is a coiled, elongated creature with a head resembling a boar. The character for "dragon" in the earliest Chinese writing has a similar coiled form, as do later jade dragon amulets from the Shang period.
Classical depictions
Chinese literature and myths refer to many dragons besides the famous long. The linguist Michael Carr analyzed over 100 ancient dragon names attested in Chinese classic texts. Many such Chinese names derive from the suffix -long:
Tianlong (Chinese: 天龍; pinyin: tiānlóng; Wade-Giles: t'ien-lung; literally "heavenly dragon"), celestial dragon that guards heavenly palaces and pulls divine chariots; also a name for Draco (constellation)
Shenlong (Chinese: 神龍; pinyin: shénlóng; Wade-Giles: shen-lung; literally "god dragon"), thunder god that controls the weather, appearance of a human head, dragon's body, and drum-like stomach
Fucanglong (Chinese: 伏藏龍; pinyin: fúcánglóng; Wade-Giles: fu-tsang-lung; literally "hidden treasure dragon"), underworld guardian of precious metals and jewels, associated with volcanoes
Dilong (Chinese: 地龍; pinyin: dìlóng; Wade-Giles: ti-lung; literally "earth dragon"), controller of rivers and seas; also a name for earthworm
Yinglong (Chinese: 應龍; pinyin: yìnglóng; Wade-Giles: ying-lung; literally "responding dragon"), winged dragon associated with rains and floods, used by Huangdi to kill Chi You
Jiaolong (Chinese: 蛟龍; pinyin: jiāolóng; Wade-Giles: chiao-lung; literally "crocodile dragon"), hornless or scaled dragon, leader of all aquatic animals
Panlong (Chinese: 蟠龍; pinyin: pánlóng; Wade-Giles: p'an-lung; literally "coiled dragon"), lake dragon that has not ascended to heaven
Huanglong (Chinese: 黃龍; pinyin: huánglóng; Wade-Giles: huang-lung; literally "yellow dragon"), hornless dragon symbolizing the emperor
Feilong (Chinese: 飛龍; pinyin: fēilóng; Wade-Giles: fei-lung; literally "flying dragon"), winged dragon that rides on clouds and mist; also a name for pterosaur (compare Feilong kick and Fei Long character)
Qinglong (Chinese: 青龍; pinyin: qīnglóng; Wade-Giles: ch'ing-lung; literally "Azure Dragon"), East one of the Four Symbols, mythological creatures in the Chinese constellations
Fewer Chinese dragon names derive from the prefix long-:
Longwang (Chinese: 龍王; pinyin: lóngwáng; Wade-Giles: lung-wang; literally "Dragon Kings") divine rulers of the Four Seas
Longma (Chinese: 龍馬; pinyin: lóngmǎ; Wade-Giles: lung-ma; literally "dragon horse"), emerged from the Luo River and revealed Bagua (concept) to Fu Xi
Chinese scholars have classified dragons in diverse systems. For instance, Emperor Huizong of Song canonized five colored dragons as "kings".
The Azure Dragon [Qinglong 青龍] spirits, most compassionate kings.
The Vermillion Dragon [Zhulong 朱龍] spirits, kings that bestow blessings on lakes.
The Yellow Dragon [Huanglong 黃龍] spirits, kings that favorably hear all petitions.
The White Dragon [Bailong 白龍] spirits, virtuous and pure kings.
The Black Dragon [Xuanlong 玄龍] spirits, kings dwelling in the depths of the mystic waters.
With the addition of the Yellow Dragon of the Center to Azure Dragon of the East, these Vermillion, White, and Black Dragons coordinate with the Four Symbols, including the Vermilion Bird of the South, White Tiger of the West, and Black Tortoise of the North.
Several Ming Dynasty texts list the Nine Children of a Dragon (龍生九子), which feature prominently in Chinese architectural and monumental decorations. The scholar Xie Zhaozhe (謝肇淛, 1597-1624) gives this listing.
A well-known work of the end of the sixteenth century, the [Wuzazu 五雜俎], informs us about the nine different young of the dragon, whose shapes are used as ornaments according to their nature. The [pulao 蒲牢], dragons which like to cry, are represented on the tops of bells, serving as handles. The [qiuniu 囚牛], which like music, are used to adorn musical instruments. The [chiwen 螭吻/鴟吻], which like swallowing, are placed on both ends of the ridgepoles of roofs (to swallow all evil influences). The [chaofeng 嘲風], lion-like beasts which like precipices, are placed on the four corners of roofs. The [yazi 睚眦/睚眥], which like to kill, serve as ornaments of sword-grips. The [bixi 贔屭], which have the shape of the [chilong 螭龍], and are fond of literature, are represented on the sides of grave-monuments. The [bi'an 狴犴], which like litigation, are placed over prison gates (in order to keep guard). The [suanni 狻猊], which like to sit down, are represented upon the bases of Buddhist idols (under the Buddhas' or Bodhisattvas' feet). The [baxia 霸下], finally, big tortoises which like to carry heavy objects, are placed under grave-monuments.
Further, the same author enumerates nine other kinds of dragons — there are so many, says he, because the dragon's nature is very lewd, so that he copulates with all animals —, which are represented as ornaments of different objects or buildings according to their liking prisons, water, the rank smell of newly caught fish or newly killed meat, wind and rain, ornaments, smoke, shutting the mouth (used for adorning key-holes), standing on steep places (placed on roofs), and fire.
The Sheng'an waiji (升庵外集) collection by the poet Yang Shen (楊慎, 1488-1559) gives different 5th and 9th names for the dragon's nine children: the taotie (饕餮), which loves to eat and is found on food-related wares, and the jiaotu (椒圖), which looks like a conch or clam, does not like to be disturbed, and is used on the front door or the doorstep. Yang's list is bixi, chiwen or cháofēng, pulao, bi'an, taotie, qiuniu, yazi, suanni, and jiaotu.
Oldest attestation of the list found in 菽園雜記 (by 陸容, 1436-1494), however, he noted that the list enumerates mere synonyms of various antiques, not children of a dragon.
Dragon toes
It is sometimes noted that the Chinese dragons have five toes on each foot, while the Japanese dragons have three. To explain this phenomenon, Chinese legend states that all Imperial dragons originated in China, and the further away from China a dragon went the fewer toes it had. Dragons only exist in China and Japan because if they traveled further they would have no toes to continue. The Japanese legend has a story similar to the Chinese one.
However, historical records show that ordinary Chinese dragons had four toes, but the Imperial dragon had five (as in the Five elements of Chinese philosophy). The four-clawed dragon was reserved for princes and certain high rank officials. The three clawed dragon was used by the general public (widely seen on various Chinese goods in Ming dynasty). In fact, it was a capital offense for anyone - other than the emperor himself - to use the five-clawed dragon motif. Improper use of claw number was considered treason, punishable by execution of the offender's entire clan. Since most east Asian nations at one point or another were considered Chinese tributaries, they were only allowed four-clawed dragons. The five toes rule was enforced since 1336 AD (Yuan the second year). "(For commoners) It is forbidden to wear any cloth with patterns of Qilin, Male Fenghuang (Chinese phoenix), White rabbit, Lingzhi, Five-Toe Two-Horn Loong, Eight Loongs, Nine Loongs, Long-live, Fortune-longevity character and Golden Yellow etc." ("禁服麒麟、鸾凤、白兔、灵芝、双角五爪龙、八龙、九龙、万寿、福寿字、赭黄等服")
Cultural references
Number nine
The number nine is considered lucky in China as it is the largest possible single digit, and Chinese dragons are frequently connected with it. For example, a Chinese dragon is normally described in terms of nine attributes and usually has 117 scales - 81 (9x9) male and 36 (9x4) female. The reason why the dragon of non supremacy has only one claw is because it was lost in a great battle between rich and the very poor. This is also why there are nine forms of the dragon and the dragon has nine children (see Classical depictions above). The "Nine Dragon Wall" is a screen wall with images of nine different dragons, and is found in imperial palaces and gardens. As nine was considered the number of the emperor, only the most senior officials were allowed to wear nine dragons on their robes - and then only with the robe completely covered with surcoats. Lower-ranking officials had eight or five dragons on their robes, again covered with surcoats; even the emperor himself wore his dragon robe with one of its nine dragons hidden from view.
There are a number of places in China called "Nine Dragons", the most famous being Kowloon (in Cantonese) in Hong Kong. The part of the Mekong in Vietnam is known as Cửu Long, with the same meaning.
Chinese zodiac
The dragon is one of the 12 animals in the Chinese zodiac which is used to designate years in the Chinese calendar. It is thought that each animal is associated with certain personality traits. Dragon years are usually the most popular to have babies. There are more babies born in Dragon years than in any other animal years of the Zodiac.
Famous people born in the year of the dragon include: Bruce Lee, Ringo Starr, Dr. Seuss, John Lennon, Helen Keller, Salvador Dalí, Susan B. Anthony, Joan of Arc, Orlando Bloom, Sigmund Freud, Florence Nightingale, Napoleon III, Keanu Reeves, Ronaldo, Mike Allen, James Coburn, and Mae West, Ernesto "Che" Guevara, Friedrich Nietzsche, Doctor Chalaka.
Constellations
The Azure Dragon - Qing Long - 青龍 is considered to be the primary of the four celestial guardians, the other three being the Zhu Que - 朱雀 (Vermilion Bird), Bai Hu - 白虎 (White Tiger), Xuan Wu - 玄武 (Black Tortoise-like creature). In this context, the Azure Dragon is associated with the East and the element of Wood.
Dragonboat racing
At special festivals, especially the Duan Wu festival, dragon boat races are an important part of festivities. Typically, these are boats rowed by a team of up to 12 rowers, and with a carved dragon as the head of the boat. Dragon boat racing is also an important part of celebrations outside of China, such as at Chinese New Year.
Dragon dancing
On auspicious occasions, including Chinese New Year and the opening of shops and residences, festivities often include dancing with dragon puppets. These are "life sized" cloth-and-wood puppets manipulated by a team of people, supporting the dragon with poles. They perform choreographed moves to the accompaniment of drums and music.
Dragons and Tigers
Tigers have always been an eternal rival to the dragon, thus various artworks depict a dragon and tiger fighting an epic battle. A well used Chinese idiom to describe equal rivals (often in sports nowadays) is "Dragon versus Tiger". In Chinese martial arts, "Dragon style" is used to describe styles of fighting based more on understanding movement, while "Tiger style" is based on brute strength and memorization of techniques.
Chinese dragons in popular culture
As a part of traditional folklore, dragons appear in a variety of mythological fiction.
In Journey to the West, the son of the Dragon King of the West was condemned to serve as a horse for the travellers because of his indiscretions at a party in the heavenly court. The Monkey King's cudgel Rú Yì Bàng was stolen from the Eastern (Donghai) Dragon King áo guǎng.
In Fengshen Yanyi and other stories, Nezha, the boy hero, defeats the Dragon Kings and tames the seas.
In the anime series Bleach Hitsugaya Toshiro's zanpakuto Hyōrinmaru resembles a Chinese dragon.
In the anime and manga Dragon Ball Shen-long is the great dragon who spend wishes
There are two in Gosei Sentai Dairanger: Ryuseioh, the leader's mecha, and Daijinryuu, a deity that preserves the natural balance amongst the stars.
These dragons also appear in the second season of Mighty Morphin Power Rangers (which was based on Zyuranger and Dairanger) as the Red Dragon Thunderzord and Serpentera, respectively.
In Western political cartoons, the Chinese dragon is often used as a personification for the People's Republic of China.
In Avatar: The Last Airbender, the dragons were the original masters of Firebending. The movements of the original style "The Dancing Dragon" mimicked the dragons' movements. Once common and, as shown, allies of humans, but had become nearly extinct after it became Fire Nation tradition to kill a dragon as proof of power (if one could kill a dragon, thought as the ultimate Firebender, one was given the title of "Dragon"). Avatar Roku's "animal guide" was a dragon. The dragons' designs are almost identical to how they were depicted culturally, except they are all shown to have bat-like wings. Roku's dragon, at least in the Spirit World, can communicate telepathically via contact with its feelers. The largest dragons shown were of immense size and come in colors of at least blue and red.
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/Chinese_dragon
http://en.wikipedia.org/wiki/Category:Chinese_mythology
Chinese culture | Chinese mythology | Chinese dragons | Chinese legendary creatures
Thursday, January 24, 2008
Wednesday, January 23, 2008
Fucanglong (伏藏龍)
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
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
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
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