Völuspá (Prophecy of the Volva, Prophecy of the
Seeress) is the first and best known poem of the
Poetic Edda. It tells the story of the creation of the world and its
coming end related by a völva or seeress addressing Odin. It is one
of the most important primary sources for the study of Norse
mythology. The poem is preserved whole in the Codex Regius and
Hauksbók manuscripts while parts of it are quoted in the Prose
Edda.
We have seven English Translations
of the Völuspá available on the Temple of Our Heathen Gods resource
website:
It can be immensely interesting and
instructional to read and compare two or more translations, stanza
by stanza, in order to identify the differences in meaning that each
translation may contain. We've built whole Kindred study group
sessions out of this activity, but a Heathen individual or familiy
could do this as well.
Preservation
Völuspá is found in the Codex Regius
manuscript (ca. 1270) and in Haukr Erlendsson's Hauksbók Codex (ca.
1334), and many of its stanzas are quoted or paraphrased in Snorri
Sturluson's Prose Edda (composed ca. 1220, oldest extant manuscript
dates from ca. 1300). The Codex Regius version consists
of 63 fornyrđislag stanzas, but the order and number of the
stanzas varies from manuscript to manuscript. Some editors and translators have
further rearranged the material, in an attempt to improve
its meaning or form.
Synopsis
A Short Synopsis: The prophecy
commences with an address to Odin. The seeress then starts relating
the story of the creation of the world in an abridged form. She
explains how she came by her knowledge and that she understands the
source of Odin's omniscience, and other secrets of the gods of Asgard. She deals with present and future
happenings, touching on many of the Norse myths, such as
the death of Baldr and the binding of Loki. Ultimately the
seeress tells of the end of the world, Ragnarök,
and its second coming.
A Longer Synopsis: The poem
starts with the seeress requesting silence from "the sons of
Heimdallr" (human beings) and asking Odin whether he wants her to
recite ancient lore. She says she remembers giants born in antiquity
who reared her.
She then goes on to relate a creation
myth; the world was empty until the sons of Burr lifted the
earth out of the sea. The Ćsir then established order in the cosmos by finding places
for the sun, the moon and the stars, thereby starting
the cycle of day and night. A golden age ensued where
the Ćsir had plenty of gold and happily constructed
temples and made tools.
But then three mighty giant maidens came
from Jötunheimar and the golden age came to an end. The
Ćsir then created the dwarves, of whom Mótsognir and
Durinn are the mightiest.
At this point 10 of the
poem's 66 stanzas are over and six stanzas ensue which
contain names of dwarves. This section, sometimes called Dvergatal (catalogue of
dwarves), is usually considered an interpolation and sometimes omitted
by editors and translators.
After the Dvergatal the creation of the first
man and woman are recounted and Yggdrasill, the world-tree, is
described. The seeress recalls the events that led to the first
ever war, and what occurred in the struggle between
the Ćsir and Vanir. |
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The seeress then reveals to Odin that she
knows some of his own secrets, of what he sacrificed of himself in
pursuit of knowledge. She tells him she knows where his
eye is hidden and how he gave it up in exchange
for knowledge. She asks him constantly if he would
like to hear more.
The seeress goes on to describe the slaying
of Baldr, best and fairest of the gods and the enmity of Loki, and
of others. Then she prophesizes the final destruction of the gods
where fire and flood overwhelm heaven and earth as the gods fight
their final battles with their enemies. All this is forecast, this
the "fate of the gods," the Ragnarök. She describes the summons to
battle, the personal struggles of the gods. She tells of the tragic
endings of many of the gods - and how Odin, himself, is slain.
Finally a beautiful reborn world will rise
from the ashes of death and destruction where Baldr will live
again in a new world where the earth sprouts
abundance without sowing seed.
Note by H.A. Bellows
The following introductory note was
written by H.A. Bellows at the beginning of his translation of the
Völuspá, which he refers to as the "Voluspo." I've included them
here, because I thought they were interesting.
The Wise-Woman's Prophecy
INTRODUCTORY
NOTE
At the beginning of the
collection in the Codex Regius stands the Voluspo, the most famous
and important, as it is likewise the most debated, of all the Eddic
poems. Another version of it is found in a huge miscellaneous
compilation of about the year 1300, the Hauksbok, and many stanzas
are included in the Prose Edda of Snorri Sturluson. The order of the
stanzas in the Hauksbok version differs materially from that in the
Codex Regius, and in the published editions many experiments have
been attempted in further rearrangements. On the whole, how ever,
and allowing for certain interpolations, the order of the stanzas in
the Codex Regius seems more logical than any of the wholesale
"improvements" which have been undertaken.
The general plan of the Voluspo
is fairly clear. Othin, chief of the gods, always conscious of
impending disaster and eager for knowledge, calls on a certain
"Volva," or wise-woman, presumably bidding her rise from the grave.
She first tells him of the past, of the creation of the world, the
beginning of years, the origin of the dwarfs (at this point there is
a clearly interpolated catalogue of dwarfs' names, stanzas 10-16),
of the first man and woman, of the world-ash Yggdrasil, and of the
first war, between the gods and the Vanir, or, in Anglicized form,
the Wanes. Then, in stanzas 27-29, as a further proof of her wisdom,
she discloses some of Othin's own secrets and the details of his
search for knowledge.
Rewarded by Othin for what she
has thus far told (stanza 30), she then turns to the real prophesy,
the disclosure of the final destruction of the gods. This final
battle, in which fire and flood overwhelm heaven and earth as the
gods fight with their enemies, is the great fact in Norse mythology;
the phrase describing it, ragna rök, "the fate of the gods," has
become familiar, by confusion with the word rökkr, "twilight," in
the German Göterdämmerung. The wise-woman tells of the Valkyries who
bring the slain warriors to support Othin and the other gods in the
battle, of the slaying of Baldr, best and fairest of the gods,
through the wiles of Loki, of the enemies of the gods, of the
summons to battle on both sides, and of the mighty struggle, till
Othin is slain, and "fire leaps high about heaven itself" (stanzas
31-58). But this is not all. A new and beautiful world is to rise on
the ruins of the old; Baldr comes back, and "fields unsowed bear
ripened fruit" (stanzas 59-66).
This final passage, in
particular, has caused wide differences of opinion as to the date
and character of the poem. That the poet was heathen and not
Christian seems almost beyond dispute; there is an intensity and
vividness in almost every stanza which no archaizing Christian could
possibly have achieved. On the other hand, the evidences of
Christian influence are sufficiently striking to outweigh the
arguments of Finnur Jonsson, Müllenhoff and others who maintain that
the Voluspo is purely a product of heathendom. The roving Norsemen
of the tenth century, very few of whom had as yet accepted
Christianity, were nevertheless in close contact with Celtic races
which had already been converted, and in many ways the Celtic
influence was strongly felt. It seems likely, then, that the Voluspo
was the work of a poet living chiefly in Iceland, though possibly in
the "Western Isles," in the middle of the tenth century, a vigorous
believer in the old gods, and yet with an imagination active enough
to be touched by the vague tales of a different religion emanating
from his neighbor Celts.
How much the poem was altered
during the two hundred years between its composition and its first
being committed to writing is largely a matter of guesswork, but,
allowing for such an obvious interpolation as the catalogue of
dwarfs, and for occasional lesser errors, it seems quite needless to
assume such great changes as many editors do. The poem was certainly
not composed to tell a story with which its early hearers were quite
familiar; the lack of continuity which baffles modern readers
presumably did not trouble them in the least. It is, in effect, a
series of gigantic pictures, put into words with a directness and
sureness which bespeak the poet of genius. It is only after the
reader, with the help of the many notes, has--familiarized him self
with the names and incidents involved that he can begin to
understand the effect which this magnificent poem must have produced
on those who not only understood but believed it.
Note by
Patricia Terry
The following note was written by
Patricia Terry at the end of her translation of the Völuspá. I've
included it here, because I thought it were
interesting...
This translation of Völuspá is based on an edition
of the text recently published by Paul Schach. Meaningless passages have
been omitted, and what seems a more satisfactory order
has been restored. In addition, Professor Schach's explanatory notes have provided
many valuable interpretations, including indications of probable gaps in the narration,
shown here by large spaces between stanzas.
I have preferred to
return to the Norse title of this poem because the supernatural
being, the völva, who reluctantly speaks prophetic words to Odin, cannot
really be named in English. "Witch" would perhaps be closest, but,
despite Macbeth, it primarily suggests evil rather than prophecy. "Sibyl" is
too tame, too intellectual, coming from Greece. I have also restored the
pronouns by which the original text refers to the
völva, sometimes in the first person, sometimes in the third. This
leaves open the possibility, incorporated into the Vigfusson-York edition,
that there is more than one narrator. It also makes a
connection with the final "she" of the poem, the völva who
"sinks down" into her shadowy dark domain.
These notes, in addition to the glossary of proper
names, will provide information about Norse mythology. But understanding of the
underlying cosmology simply brings the mysterious to a deeper level. The inseparability
of chaos and form is the very subject of
the poem, the doom of creation inherent in the violence of
the beginning. The battle is lost in advance, Ragnarök,
the doom of the gods, the battle for which the warriors
were brought by the valkyries to Valhalla, because it cannot be
won, is the ideal of Germanic heroism.
Professor Schach gives convincing reasons
for deleting the reference to Ymir which occurs at the beginning of
Völuspá in other editions. This has the disadvantage, however, of
making the creative activity of "Bur's sons" seem more peaceful than
it was. Contemporary readers, being familiar with Norse cosmology,
would
have known what Snorri Sturluson already felt it
necessary to explain in his thirteenth-century handbook for poets.
According to Snorri, Ymir was the first creator, himself created out
of the union of opposites, frost meeting warmth in the primordial
void. No deity was involved in this quite modern idea of
life's beginning. Descendants of the Frost Giant, "Bur's sons," one of
whom was Odin, killed Ymir and created the world: its waters from
his blood; earth from his flesh; mountains from his
bones; Midgard, the home of humans, from his eyebrows. It is
clear that "giants" (jotuns) and "gods" (the Ćsir) are
interrelated, but giants, as seen by the gods, are evil. The
völva, a giant, and constrained to speak by Odin's superior powers,
is thus a precarious source of knowledge.
The sea that surrounds Midgard is the home
of the Serpent who
will ultimately emerge to participate in Ragnarök. Beyond
the sea is Jotunheim or Utgart, home of the
giants. Below Midgard is Niflheim, "Mist-home," the realm of the dead,
ruled by Loki's daughter Hel. In the center of Midgard is
Asgard, dwelling place of the Ćsir. The Ćsir created the human
race from two trees. One is, like the World Tree, an
ash; the identity of the "Embla" is uncertain. Heimdall, mentioned in the
beginning of the poem as the father of humans,
has a prominence not far from Odin's. He too made a
sacrifice for wisdom, leaving his particularly acute hearing, or
an ear in some readings, in Mimir's Well where Odin left
his eye. In contrast, the principal attribute of Thor, defender of
humans against the giants, is unthinking strength.
Odin grew old and
anxious about the fate of the gods, although he must already
have known their future when he consulted the völva. She hints at
possible causes, the recurrence of evil in the relations
of the Ćsir, warrior gods, with the Vanir, the older fertility
gods who win a temporary victory through magic. There
is also the attempt to kill Gullveig, who may be the
sorceress casting her evil spells in the next stanza. Her name,
however, refers to the power of gold.
Later, when the Ćsir and Vanir have been
united, the goddess Freyja is promised to a giant by Loki who then
breaks his word. Thor's Hammer completes the betrayal. Loki's crimes
were of such magnitude that they could be evoked by brief allusions
now quite obscure. In fact,
he is evil itself, sometimes in the disguise
of simple mischief. Although he often acts as the
ally, even the intelligence, of the gods, he is a giant
whose offspring, in addition to Hel, include the Wolf and the
Serpent. Loki not only finds a way to kill the god
Balder, protected by all living things except the mistletoe, but uses
as his agent Balder's brother, the blind and innocent Hod. Snorri describes
Balder as the best, the wisest, and the most
beautiful of the gods. Loki is punished, but the ordering moral
factors in society break down. The valkyries assemble, the
warriors in Valhalla hear the cocks crowing to announce the final
battle. Naglfar, the Ship of the Dead, begins its mysterious journey;
the Wolf and the Serpent are free.
The Ash Tree referred to in the beginning of
the poem is difficult to locate even in mythological space.
Everything is in some sense "below" it: the home of
giants; Midgard, Middle Earth, the home of men;
and Hel. Below it also live the Norns, the
source of human destiny. These may be the giant maidens whose
arrival is the first indication that the tranquility of the Ćsir
will not be permanent. The Tree, Yggdrasil, is also called the
World Tree. Its Norse name means "Odin's Horse," in reference to
Odin's hanging himself on the Tree in order to obtain secret runes
of wisdom, a story related in "Sayings of the
High One." The Ash Tree is also life itself, its greenness
in opposition to the "nowhere green" of the primordial
void. According to recent, and compelling, readings of the text, it
remains visible, like a flaming torch against the sky, after the
earth and the stars have been destroyed.
When the earth rises again from the waters,
the Ćsir, but not their
opponents, reappear. Balder lives again, at peace with
Hod. There are people again as well, some of
them destined, by their virtue, to live in a hall called
Gimlé in happiness forever. Snorri refers to this as a pagan
heaven; more recent commentators see here, and elsewhere in the poem,
a Christian meaning. These will be more inclined to accept as
genuine the defective stanza which follows the present stanza 49 in one
manuscript, and which Schach includes. A literal translation carries
so many inevitable, but perhaps inappropriate, connections with Christian terminology that
I prefer to place it here. It seems in
any case hard to fit into the chronology and what seems
to me the spirit of the poem, at least without the
lost passages which must have accompanied it.
The mighty one comes down on the day
of doom, that powerful lord who rules over all.
The final stanza has also been the subject of
much conflicting interpretation, in which the dragon is seen in a
variety of functions from purifying to threatening. Like Peter
Hallberg and Paul Schach, I see its presence as a reminder
that good cannot be disentangled from evil; to separate light from
the darkness is to intensify the darkness.
Sources:
Wikipedia and The Poetic Edda at
Sacred
Texts.
Again, we have seven English Translations
of the Völuspá here on our resource website:
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