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The Nature of Thor
Today is Thursday—a fitting day to begin our chapter on the divine nature of Thor. Described in numerous tales within the Edda, he also enjoyed widespread veneration throughout the Germanic lands under the name Donar. Both names evoke the word “thunder”, and thus, in Thor, we recognize the personified power and strength of the gods. One might also call to mind the “righteous wrath of the gods”—a force directed primarily against the mountain and frost giants, and thus against the forces of stagnation in nature; in this sense, it serves to safeguard the life of all creation. In doing so, Thor aligns himself with the gods' overarching goal in their struggle to preserve a vibrant creation, though his focus lies particularly upon the realm of living physicality. In this regard, Thor might be viewed as the most corporeal among the leading deities, a quality that makes him appear closest of all to us humans. Consequently, his primary role in the Edda is to protect Midgard from the frost giants of Jötunheim, ensuring that our human world is never overwhelmed by the forces of stagnation.
Yet, with this brief characterization, we do not wish to immediately pigeonhole Thor into any specific category, even if, alongside Odin and Loki, he appears significantly more graspable. For he, too, is a god, and thus a holistic being. It is only within the realm of our own mental conception that he assumes a comprehensible form of the otherwise unfathomable divine. For only in this way can such wondrous tales—like those we find in the Edda—be told, helping us to draw closer to that which is Highest, Perfect, and eternally Incomprehensible in life.
Accordingly, in the “Prose Edda”, specifically in the section known as “Gylfi’s Delusion” §21, the nature of Thor is described as follows; and this description is offered, moreover, by “The High One” himself—by Odin:
Then Gangleri (the “Wanderer”) asked: “What are the names of the other Aesir? What are they capable of, and what great deeds have they accomplished?”
The High One replied: “Thor is the most prominent among them. He is also called Aesir-Thor or Öku-Thor ('God-Thor' or 'Chariot-Thor'—or, alternatively, 'God-Thunder' or 'Rolling Thunder'). He is the strongest of all gods and men. He rules over the realm known as Thrudvang ('Field of Strength'), and his hall bears the name Bilskirnir ('Lightning-Strike'). Within this hall are five hundred and forty rooms. It is the largest house known to mankind. Thus, it is stated in the !Lay of Grimnir” (Verse 24):
'Five hundred rooms and forty—such, I reckon, is Bilskirnir (the palace of Thor) in its entirety. Of all the houses I know to be roofed, I recognize my son's as the greatest.'
Thor has two goats, named Tanngnjost and Tanngrisnir (“Teeth-Grinder” and “Teeth-Gnasher”), and a chariot when he goes out; and the goats pull this chariot. He also possesses three treasures: First, the hammer Mjölnir (“Crusher”), which the frost and mountain giants know well when it is swung through the air. And that is no wonder, for it has shattered many a skull of their fathers and relatives. The second outstanding treasure he possesses is a belt of strength. When he puts it on, he gains twice the strength of the Aesir. But he has a third great treasure: Iron gauntlets. He cannot do without them on the hammer handle. No one, however, is wise enough to be able to recount all his heroic deeds. But I could tell you so many stories about him that time would pass before everything I know could be said.”
(Gylfaginning §21 according to Arnulf Krause and Karl Simrock)
Right at the very outset, Thor is here lauded as “the strongest of all gods and men”, thereby emphasizing his connection to humans and their physical world in Midgard. For Midgard is our sphere of existence, a realm where physical strength, too, plays an essential role; it is, so to speak, Thrudvang, the “Field of Strength”, where physical power can grow and flourish fruitfully for all living creation.
Regarding his hall, Bilskirnir—conceived as a space of consciousness—we have already spoken in greater detail in the chapter on the nature of Odin, specifically within the description of Valhalla. Its name signifies “Lightning-Strike” and evokes a divine beam of light descending upon the earth to strike it. In this context, one might call to mind the living beings who, amidst the unimaginably vast span of creation, appear here like a flash of lightning, and vanish just as swiftly. The 540 gates are likewise described in connection with Valhalla; we can readily visualize these gates leading from Valhalla—from Odin’s celestial hall, as it were—into Thor’s earthly hall, passing from the Divine Father to the Son. Thus, as a “roofed house”, it stands as the largest physical hall. As for why there are precisely 540 gates, we have been unable to find a conclusive interpretation. The number 360—representing 12x30 days within the annual cycle—would seem a logical choice; however, 540 corresponds to 18x30, amounting to an additional half-year.
Thor’s chariot reminds us of the earthly physicality required to move about the world. This chariot is drawn by two bucks, often described specifically as he-goats. Here, we may reflect upon the necessary duality of opposites. Their names—Tanngnjost and Tanngrisnir—mean “Teeth-Grinder” and “Teeth-Gnasher”, symbolically evoking the “bite” as the driving force that enables movement within our world. We may also consider the principles of separation and binding, which are likewise essential for physical mobility. The Edda contains a story—which we will examine in greater detail later—in which Thor slaughters these goats and prepares them as food for himself and others. Afterward, he is able to restore them to life with his hammer, provided that their bones remained intact. This mirrors the way in which the bodies of all living beings likewise perish and are reborn, so long as the underlying causes for their existence persist.
This brings us directly to Thor’s hammer, Mjölnir—”the Crusher”—a weapon well known to the Frost and Mountain Giants. For with this weapon, he battles against the overwhelming forces of stagnation and solidification within creation, thereby ensuring its vital dynamism, just as, symbolically, he was able to use this very hammer to restore his two draught animals to life. Thus, it is not a weapon of lethal destruction, but rather a divine instrument for life within creation. It was, therefore, surely no coincidence that this hammer was crafted by the dwarves, spirits of nature, alongside the golden ring of renewal (or regeneration) and the golden boar, a being of light that served as the draft animal for Freyr’s chariot. We have already discussed this in greater detail in the previous chapter on the nature of Loki, specifically in the section concerning Draupnir.
Another of his treasures is his belt of strength. Why would a god need a belt of strength? After all, as a holistic being, he already possesses all powers. Here, we might conceive of it as a means to channel the holistic power of the spirit within nature and focus it upon a specific object. And concentrated powers are, of course, powers that are doubled, indeed, multiplied. Thus, Thor’s influence acquires a specific direction, one that, in the sagas, is typically described as “East”, the direction in which Thor travels to strike down the Frost Giants with his hammer. In the next section, we shall reflect upon the symbolic significance of this “East”.
The third treasure is the iron gloves. Perhaps they are even the most precious of all—if we view them as protective gloves shielding us from the consequences of our own actions. For every action taken within nature produces an effect, and thereby a counter-effect, as well as the cause for further effects. In Indian philosophy, this chain of causality is known as Karma. In the Christian tradition, one speaks of sin, debts, and merits—accumulations that one can amass through one's own deeds.
But can a god accumulate karma or guilt? This is a crucial question, particularly for understanding the true nature of Thor. For in doing so, he would forfeit his divine and holistic essence, becoming instead an ordinary living being—much like you and me—entangled in the affairs of this world. This appears to happen frequently in the many tales of Thor, especially when he acts impulsively in a fit of “righteous divine wrath”, precisely because he seems so close to us humans and acts in ways so similar to our own. Yet, fundamentally, this is not the case after all, for his actions remain firmly within the bounds of the divine order. In a similar vein, it is the ultimate goal of Indian yogis to act without attachment to their own deeds, thereby working through and dissolving accumulated karma, yet without generating any new karma. In this context, the “protective gloves” serve as a powerful symbol of “action without attachment”, a concept that might also be termed “divine action”. Likewise, the “protective helmet”—with which the gods are often depicted—could be interpreted as a symbol of “thought without attachment”, representing, in turn, “divine thought”.
Thus, Thor remains a divine being whom one can never fully comprehend. And the final two sentences serve to confirm this once more: “Yet no one is wise enough to be able to recount all his heroic deeds...”
For within this tension—between proximity and overwhelming power, between impulsive action and divine wholeness—Thor ultimately remains inexhaustible. Precisely where he appears most akin to us, he simultaneously eludes any complete equation with human action. Thus, his precious tools point not merely to external power, but to an inner order—one that finds expression in the god’s deeds, yet can never be fully grasped. The fact that no one is capable of enumerating all his deeds is, therefore, not just a rhetorical flourish, but rather an indication of that depth which reveals itself only through a journey through the individual stories: in the encounters, battles, and trials in which the essence of this god manifests itself anew, time and again.
The Nine Worlds
“I was in the East and struck down giants (Jötnar) and malevolent women who made for the mountains. The race of giants would grow all-powerful if they all lived. It would be the end of mankind in Midgard.” (Song of Harbard, Verse 23, after Arnulf Krause and Karl Simrock)
Similarly, the Edda often describes how Thor travels “to the East”, the realm where the mountain and frost giants dwell in Jötunheim. What does this “East” signify? At first, one might interpret it as a geographical direction, a subject that has, in fact, been the focus of much speculation. For instance, in the text of the “Heimskringla”, the “Circle of the World”, also attributed to Snorri Sturluson, it is stated right at the very beginning of the “Ynglinga Saga”:
Thus it is said: The circle of the Earth inhabited by mankind is deeply intersected by waters; great seas extend from the World Ocean deep into the land. It is well known that a sea stretches from Njörvasund (the Strait of Gibraltar) all the way to the Holy Land (Jerusalem). From this sea (the Mediterranean), a long gulf extends toward the northeast, known as the Black Sea; it separates the three parts of the Earth: the region lying to the east is called Asia, while that lying to the west is named Europa by some, and Enea by others. But to the north of the Black Sea lies Swithjod, the Great, or the Cold (Greater Sweden/Russia/Sarmatia?). Some claim that this Great Swithjod is no smaller than the vast Serkland (“Land of the Serkir”, the Muslims). Others compare it in size to the great Blueland (Africa). The northern reaches of Swithjod lie uncultivated due to frost and cold, just as the southern regions of Blueland lie desolate from the scorching heat of the sun. Within Swithjod lie many vast territories; there, too, dwell many truly wondrous peoples and are spoken many diverse tongues; there are giants and there are dwarves; there are also “Bluemen” (dark-skinned peoples); and there, too, roam creatures of terrifying size and dragons. To the north of the mountain ranges that encircle the entire inhabited world, a great river flows through Swithjod—rightly named the Tanais (the Don); in former times, it was known as Tanaquisl or Vanaquisl, and it empties into the Black Sea. The land situated between the branches of the Vanaquisl was known in those days as Vanaland or Vanaheim; the river serves to demarcate the three parts of the Earth: the region to the east is called Asia, while that to the west is called Europa. The land lying to the east of the Tanaquisl, within Asia, was known as Asaland or Asaheim; and the principal stronghold situated within that land they named Asgard.
(Heimskringla: Sagas of the Kings of Norway, Gottlieb Mohnike, 1837 / Other source: Snorri’s Book of Kings (Heimskringla), Felix Niedner, 1922)
It is difficult today to reconstruct exactly what Snorri envisioned around the year 1230. While the phonetic resemblance between “Asia” and “Aesir” is intriguing, it is likely more a matter of coincidence. Perhaps his placement of the realm of the Aesir or gods in the East also had a biblical basis; after all, it was from the Orient that the Three Wise Men travelled to Bethlehem for the birth of Jesus. One might also imagine the Himalayas, situated east of the Black Sea, as a sky-scraping citadel of the gods, akin to Asgard; this would stand, as it were, in contrast to the Alps lying to the west, the stronghold of the “alp” (elves) or dwarves, with the cold realm of the frost giants situated further north. Such geographical conceptions undoubtedly found their way into the Eddic texts, whether through Snorri himself or other authors. Yet, if this is the case, why then does Thor journey eastward to Jötunheim to battle the mountain and frost giants?
Here, we wish to consider a more spiritual-symbolic perspective—specifically, that of physical hardening and rigidity, wherein the waters of life increasingly freeze into stone-hard ice, transforming into mountain and frost giants. Thus, Jötunheim is also a world toward which one can gaze from Midgard—a direction in which one can set foot. For generally speaking, whichever way one looks is the direction in which one eventually travels.
Accordingly, Jötunheim ranks among the “Nine Worlds” to which the Edda makes frequent reference. Yet nowhere are these nine worlds described with such clarity and precision as to dictate exactly how one ought to envision them. Perhaps this is for the best, for it allows us to give free rein to our imagination. Finnur Magnusson, an Icelandic scholar, is said to have envisioned the following image:
Finnur Magnusson, around 1825
Here lie the nine worlds, layered one above the other: I. Ljosalfheim (Home of the Light Elves/Alfs), II. Muspelheim, III. Asgard/Valhalla, IV. Vanaheim, V. Midgard/Manheim, VI. Jötunheim, VII. Svartalfheim (Home of the Dark Elves/Alfs), VIII. Helheim/Niflhel, IX. Niflheim (Source: www.germanicmythology.com)
Then, around 1853, in his “Handbook of German Mythology”, Karl Simrock drew more upon the words of the seeress in the “Völuspá”, Verse 2:
“Nine worlds I know, nine branches I discern on the mighty trunk amidst the dust of the earth.”
Furthermore, he contemplated the northern realm of Nifl—or the World of Mist—as well as the southern realm of Muspelheim, and envisioned Midgard (or Manheim) situated at the centre of these nine worlds. Accordingly, he arranged the worlds into a matrix of three by three:
1. Above the Earth: Muspelheim, Light-Alfheim, Asaheim/Asgard
2. On the Earth: Jötunheim, Midgard/Manheim, Vanaheim
3. Beneath the Earth: Dark-Alfheim, Niflheim, Niflhel
This also makes more sense in the context of Thor and his physical chariot, allowing one to better visualize how he travels in it across the Earth—passing through the worlds of the Giants, Humans, and Vanir—within the realm of Nature.
If we now take this approach a step further and examine the nature of the various worlds as described in the Edda, we can juxtapose the two worlds of the Giants and Dwarves as Macrocosm and Microcosm, just as we can view the two worlds of the Aesir and Vanir as the realms of Spirit and Nature. Further contrasts are formed by Light and Darkness, as well as Life and Death. If we now position the Giants toward the East, we can visualize the following image:
Here, looking northward, one beholds the dark realm of nature—Niflheim, or the Realm of Mist—nourished by the Waters of Life, which “thaw” and emerge from the giant-world of the frozen Frost Giants. And this occurs through the southern influence of the Realm of Spirit, where fire, life, and light are at work. Thus, one can also visualize how, down in the east, the sun “rises”—proceeding from the south to “illuminate and warm” the realm of nature, only to plunge back into the dark night in the west. And to ensure that the sun rises again and again—and that living creation does not freeze rigid—Thor, too, with his hammer, repeatedly journeys eastward to do battle against the Mountain and Frost Giants in Jötunheim.
From a spiritual perspective, we can interpret this cosmic sphere of the “Nine Worlds” primarily as various worldly principles that exert their influence to varying degrees upon all creatures within the living creation. Furthermore, the image above clearly illustrates the interplay of opposites, which serves to enable and sustain this living creation. Moreover, these opposing principles are to be found not only in the outer cosmos but also within every living being that perceives itself as a distinct centre and integral part of the whole. In this sense, the worlds surrounding Midgard appear less as geographical locations and more as spiritual orientations—spiritual lines into which one may gaze and in which one may place one's faith. Their significance depends entirely on the strength of one's belief in the body, the spirit, nature, matter, the gods, birth, death, formation, or light. Thus, they represent spiritual paths of belief rather than mere geographical directions.
In this regard, we would now like to attempt to examine the individual worlds in somewhat greater detail. We begin with Midgard as the first world, for it is here that we are born as humans, and here that we typically dwell. Thereafter, we circle through the wheel of time—clockwise, so to speak—until we reach the ninth world.
1. Midgard - Separation / Connection (Centre)
Just like us humans, every creature actually resides perpetually within Midgard, the “Middle Garden” of the universe. For anyone who looks out in various directions around themselves naturally always stands at the very middle, the absolute centre of their own universe or sphere of experience. In principle, our modern cosmological science acknowledges this very fact: that every observer in the universe always occupies the centre, and that, within the universe as a whole, no absolute centre exists.
Furthermore, Midgard—conceived as a “garden, enclosure, or fortress”—is also a realm defined by boundaries and separation; it is a place where creatures perceive themselves as distinct entities, encased within a physical body and encircled—as if by a fence—by the Midgard Serpent, or Ego-Serpent. Thus, the Midgard Serpent emerges as a symbol of separation, yet simultaneously as a symbol of connection within the fabric of space and time. Consequently, all creatures here are mutually interdependent, for everything exists in a state of constant interaction with everything else. From this “centre”, every living being is able to gaze out toward the various and, in principle, possible worlds, that surround it. It is toward these realms that a being may then orient itself, moving in that direction to pursue its path and undergo its evolution.
2. Vanaheim - Diversity / Divine Nature / Order (North)
In this direction lies the principle of formed, living nature. Here, the “nature gods”, the Vanir hold sway, governed by the natural laws of cause and effect. Natural diversity of creation arises here, unfolding in accordance with the possibilities emerging from the sea of causes. Thus, it becomes the transient realm of opposites, such as coming into being and passing away, abundance and scarcity, summer and winter. Accordingly, Vanaheim appears within the aforementioned cosmic cycle situated between Niflheim and Niflhel, that is, between birth and death. And in contrast to the warm and luminous South, this realm in the North is of a more wintry and sombre nature.
3. Niflheim - Water / Source / Birth (Northeast)
In this direction lies the primordial and primeval “World of Mist”. Situated there, at one of the roots of Yggdrasil, is the dark spring Hvergelmir—the “bubbling and seething spring” of the fighting spirit—where one may also encounter the Ego-Serpent of demarcation. And as the Edda states: from this spring, all rivers take their course. Thus, it is a cold and dark world of mist wherein hot springs bubble forth—a concept that Icelanders, in particular, can readily visualize. In this context, the principle of birth may also be situated here, specifically, how living beings are born amidst the struggle for life, serving, as it were, as the antithesis to death in Niflhel. It is, therefore, a physical birth—facilitated by the serpent of demarcation, whereby a physical shell is formed for the living being within Midgard.
4. Jötunheim - Ice / Embodiment / Matter (East)
In this direction lies the world of the mountain and frost giants—the principle of embodiment, of the hardening and solidification of the Water of Life and the Light of Consciousness. Even modern science recognizes matter as “frozen light”, something that can be thawed once again to transform matter back into light. In this direction, one might also call to mind the ice giant Ymir, of whom the Edda speaks, the being within whom the entire universe lay frozen and solidified. Similarly, cosmological science speaks of the “Big Freeze” as a possible end-time scenario for our universe. Yet, how things might proceed thereafter remains, generally speaking, unclear. The Edda relates symbolically that, at the dawn of creation, Ymir was thawed once more by the spirit of the gods, aided by the fire of Muspelheim. Accordingly, one can also find fire giants—such as Logi—within Jötunheim; these figures incline more toward the south, toward Muspelheim, standing, as it were, in contrast to the mountain and frost giants, whose inclination lies more toward the north: toward the realm of Nature and its snow-capped mountains. A similar distinction is also described regarding the dwarves within the microcosm of Alfheim.
Furthermore, situated in the direction of Jötunheim, lies the Well of Mimir—described as the second root of the World Tree and Tree of Life, Yggdrasil. It was here that Odin sacrificed his second eye, and within this well, one may once again perceive an inspiring source of creation. We have already discussed this Well of Mimir in detail in the chapter dedicated to Odin.
5. Muspelheim - Fire / Destiny / Dissolution (Southeast)
In this direction resides the principle of fire, which acts upon the world of the frost giants and subsequently causes the “thawed ice” to flow in Niflheim as the Water of Life. The name “Muspel” remains relatively obscure. One might surmise a connection to the Old High German poem “Muspilli”, which treats of the Last Judgment and the fiery destruction of the world. Similarly, in the context of Muspelheim, one might call to mind the “righteous wrath of God”—emanating from Asgard—which also manifests in the figure of Thor acting on Jötunheim. Furthermore, Muspelheim is situated on the side of the Spirit; thus, it represents a spiritual fire—one that, within the act of creation, enables physical life in its cyclical process of emergence and dissolution. Correspondingly, situated directly opposite in Niflheim, the “seething spring” of the martial spirit bubbles forth, giving rise to physical birth.
Regarding these paths of living creation, one may view the Well of Urd—situated in the direction of Muspelheim—as the source of destiny and spiritual creation; it is described as the third root of Yggdrasil. Thus, it lies directly adjacent to Asgard, ensuring that the gods need not travel far to assemble there each day to sit in judgment over destiny. What is destiny? One might define it as the visible burning away of causes in their effects. It is also the invisible burning away of all other possibilities that do not align with the established causality and the divine purpose. To this end, the gods establish the conditions and circumstances within creation, centred upon the Tree of Life. Within this realm resides the fire of the divine spirit—much like the fire of the Holy Spirit known in Christianity—serving to heal and remedy misfortune. Accordingly, the Well of Urd is likewise characterized as “most holy”.
In this regard, concerning Muspelheim, Section 4 of “Gylfi’s Illusion” states:
First, however, there was the region in the southern half of the world, known as Muspel. It is radiantly bright and hot. This realm is engulfed in flames and burns ceaselessly, rendering it unbearable for those who are strangers there and do not call it home. Surt (or Surtur) is the name of the one who stands guard at its borders. He wields a flaming sword, and at the end of the world, he will sally forth, wage war, and vanquish all the gods. He will consume the entire world in fire (transforming it into pure light).
6. Asgard - Unity / Divine Spirit / Freedom (South)
In this direction lies the realm of the Aesir—the “spirit gods”, so to speak—standing in contrast to the “nature gods”, yet a contrast that is no longer one of hostility. For following the great Vanir War, they united peacefully and recognized one another as gods. Thus, the spirit gods, too, maintain order within creation—not through the laws of nature, with their principles of cause and effect, but rather through the freedom of the spirit: a freely mobile consciousness capable of assuming any form. Consequently, these gods are not bound by limitations as are the creatures of Midgard; rather, they are holistic beings, so much so that, even within the forms they “voluntarily” assume within creation, they are able to endure throughout the entire cycle of creation. And as holistic beings, they are, by their very nature, immortal.
Interestingly, their world, too, is referred to as a “garden and enclosure”. This already hints at a fundamental shift in perspective. For naturally, Asgard stands at the centre of the universe for them—just as Midgard does for us humans—yet viewed from the opposite angle. In this regard, there is a story—one we have already discussed in the chapter on the nature of Odin—in which the Aesir commissioned the construction of a wall around Asgard. Here, one might ponder what lies “within” this wall and what lies “outside” of it. If the Aesir are holistic beings, then this wall can, in reality, only arise “within” their own realm, thereby encompassing the entirety of creation—much like the outer boundary depicted in the diagram above. Accordingly, this wall was erected by a mountain and frost giant, aided by a horse, a symbol of living corporeality. Thus, this wall can be viewed, on the one hand, as a symbol of Asgard’s protection against the processes of embodiment and solidification—forces represented by the mountain and frost giants—and, on the other hand, as a formidable barrier to entering this realm of the gods, a barrier that is, in essence, nothing other than corporeality itself. In this sense, one might say: The gods, within Asgard, protect themselves against fragmentation and embodiment; conversely, the creatures of Midgard protect themselves against absolute wholeness and dissolution. Ultimately, the shift in perspective lies in the fact that the gods perceive creation “within” themselves, whereas sentient creatures perceive “themselves” within creation. It is, therefore, no longer a matter of saying, “I am not “in” the body”, but rather, “the body is “in” me”—within the “I Am” as the holistic, conscious space of existence itself.
7. Light -Alfheim - Light / Mindfulness / Foundation (Southwest)
In this direction resides the principle of Light. It is not yet the pure light of consciousness, but rather light intertwined with nature. Thus, here it still manifests in the form of nature spirits—as Elves or Dwarves—who may be regarded as the foundational architects of creation within the microcosm, and who, in this world, are particularly inclined toward spiritual light. Similarly, modern science recognizes light as the foundation of the universe and the carrier of all information.
As Jesus, too, declared: “I am the light of the world.” Accordingly, lying in the direction of Light - Alfheim is yet another realm of light: a “Light-Home”, so to speak, which we shall later come to know as “Gimle” and as the gateway to the Kingdom of Heaven.
8. Alfheim - Dwarves / Formation (West)
In this direction lies the principle of creative shaping forces—forces that, throughout the microcosm, operate tirelessly like little dwarves in the service of both Nature and Spirit. Presumably, this is why the Edda distinguishes between “Dark Elves” (“Svartalfar”) and “Light Elves” (“Ljósalfar”)—depending on whether, as nature spirits, they incline more toward Nature or toward Spirit, toward darkness or toward light. For it is between these very poles that all images and forms in our world come into being—arising, so to speak, between “Day-consciousness” and “Night-consciousness”, as “Day-awareness” and “Night-awareness”. In a similar vein, in the section concerning Draupnir, we have already encountered the two dwarves, Brokk and Sindri, as symbolic representations of the realms of Spirit and Nature.
Accordingly, we encounter these nature spirits across a wide spectrum, ranging from light elves and fairies to night elves and the most terrifying nightmares. Yet, fundamentally, the same beings are always being referred to. In Old High German, they were called “Alb”, “Elb”, or “Alp”; in Old Norse, “Alfr”; in Old English, “Älf”; and in Danish, “Elve”. In many legends, they are depicted as dwarves or other diminutive beings—such as the dwarf Alberich from the Nibelungenlied and the Dietrich saga.
9. Niflhel/Helheim — Dark Cave / Night-Awareness / Death (Northwest)
In this direction resides the principle of death within the nocturnal consciousness of obscuration, a state in which consciousness increasingly withdraws and encloses itself, as if within a cave. Thus, we also conceive of death as a form of unconsciousness akin to deep sleep. Accordingly, this is also the “ninth world”—a realm that may be viewed as the end of life, yet also as a number of renewal, depending on where one directs one's faith within the world. For solitary warriors, it signifies primarily the end of their physical life; for the Einherjar, however, it represents the principle of their physical renewal and regeneration.
Regarding the nature of Niflhel as the “ninth world”, the Prose Edda, specifically in “Gylfaginning”, writes the following at the conclusion of Section 3:
Then Gangleri began his questions: Who is the most distinguished and oldest of all the gods?
The High One answered: He is called All-Father in our language, but in ancient Asgard he had twelve names: The first was All-Father, the second was Herran or Herjan (Commander), the third Nikarr or Hnikarr (Awakener), the fourth Nikud or Hnikud (Arouser), the fifth was Fjolnir (All-Knowing, Manifolder), the sixth Oski (Wish-Granter), the seventh Omi (Clever-Hearing), the eighth was Biflidi or Biflindi (He with the Painted Shield), the ninth Svidur (Spear-Thrower), the tenth Svidrir (Spear-Bearer), the eleventh Vidrir (Striker), and the twelfth Jalg or Jalk (Stallion).
Then Gangleri asked: Where is this god, what powers does he possess, and what glorious deeds has he performed?
The High One replied: He lives for all time, rules over his kingdom, and brings about all things, great and small.
Then the Equal One spoke: He created heaven, earth, and air, as well as everything in them.
To this, the Third One said: But the most important thing is that He created humankind and gave them a soul that is to live and never die, even if the body decays to earth or burns to ashes. All people who are of the true faith will live and be with Him in the place called Gimle or Vingolf. But the wicked (enemies) go to Hel and then to Niflhel. That is down in the ninth world.
(Gylfaginning §3 after Arnulf Krause and Karl Simrock)
Here we can reflect once more on the two great paths of consciousness: either as a lone warrior who believes he will die with his body and whose spirit ends in Niflhel, or as an Einherjar who fights in the army of unity and is aware that only the body dies, while his soul lives eternally in wholeness or divinity. For him, the ninth world is not a dead end, a one-way street, but a world of physical renewal and regeneration in the realm of nature. For his spirit is not focused on separation and thus on death in Niflhel, but on the deity in Asgard, where Gimle or Vingolf are also thought to reside. Gimle likely means “protected from fire”, and Vingolf “hall of friends” or “wine hall”, reminiscent of Valhalla. Furthermore, the Edda text explicitly emphasizes that the path one takes and develops in the world is a matter of faith.
At the southern end of the sky stands the hall, the most beautiful of all, brighter than the sun. It is called Gimle, and it will still exist when heaven and earth have passed away. It is inhabited by good and righteous people from all ages. Thus, it is written in the Völuspá, the seeress's prophecy:
I see a hall standing, brighter than the sun, roofed with gold, in Gimle. There, faithful followers will dwell and enjoy joy forever.
Thus, in the diagram above, we can imagine this hall as a realm or heaven beyond Asgard and Light-Alfheim, so that it remains untouched by fire, bathed in pure light. From there, further heavens are described:
Then Gangleri asked: What protects this place when Surtur's fire burns the heavens (or airspace) and the earth?
The High One replied: It is said that there is a heaven south and above this one, called Andlang (“Long-Life”). And yet another heaven is above them, called Vidblain (“Wide-Blue”, sky-blue?). We believe that this place lies within that heaven. And we believe that some Light Elves already inhabit it.
(Gylfaginning §17 after Arnulf Krause and Karl Simrock)
With this, we have attempted to describe the Edda's world circle in more detail. Overall, this ring of nine worlds, as depicted in the diagram above, strongly reminds us of the symbolism of Draupnir as a ring of renewal and regeneration, as we described in the chapter on Loki. One can even imagine the fractal principle here, how the great ring becomes ever more deeply nested, appearing as a whole in each part. Accordingly, Midgard could be viewed on different levels within the universe, such as a galaxy, solar system, Earth, continent, human, organ, cell, molecule, or even atom.
Finally, let us consider how we can symbolically create a world tree from these nine worlds, which then becomes Yggdrasil, the Tree of Life, with branches and roots. We propose the following image for this purpose:
This image shows how the main branches of the tree in Midgard divide and branch out. At the root are the three wells that nourish the entire tree: On the spiritual side lies the Well of Urd, the source of spiritual creation, where the three Norns hold sway and the gods hold their daily judgment. On the natural side lies Hvergelmir, the source of physical creation and the birth of mortal beings. And between them lies Mimir, the source of intellectual creation, which is perhaps the most powerful source of the water of life from the Sea of Causes. For the intellect determines where the rivers from Hvergelmir flow and generates the causes of future destiny.
The four classical elements can also be seen in the four directions: Fire on the right side of the tree, water on the left, earth below, and air above:
West/Air
South/Fire --|-- North/Water
East/Earth
The corresponding shoots or goals within the tree are also clearly visible in this image, appearing vertically above the three lower root sources in the crown: The source of physical birth is directed towards death via the path of water and nature. The source of intellectual creation leads upward to form via the path of embodiment and separation. And the source of destiny is directed towards the light of divine consciousness via the path of fire and spirit. Yes, there is much more to ponder. But in short:
Born to die,
Destined for the light.
The nine sisters as nine waves
In principle, regarding the “Nine Worlds”, we might also call to mind the mystical “Nine Sisters”—generated by Aegir, the “Sea”, as it were, like nine creative waves upon the Sea of Causes: realms of life and motion within creation that come into being and pass away. They were born of Ran—”Plunder” or “Lack”—a principle of “Calamity” that we might trace back to the primordial giant Bölthorn, the “Evil-Thorn”.
Diagram: Solidified Universe, Conciliation, Healing, Spirit, Son, All-Father, Creator, Shining Homeward Consciousness, Waves, Worlds, Plunder, Lack, Evil-Thorn, Calamity, Sea, Nature
Ice-Giant Ymir, Bölthorn, Bestla, Ran, Nine Sisters, Heimdall, Odin, Börr, Aegir, Buri
It is a wonderful and highly symbolic fact that Odin subsequently fathered the god Heimdall with these “nine sisters”, such that, through these waves of the worlds, the “home-shining consciousness” or the “consciousness of the homes”, was also born. This is, of course, essential for illuminating the “homes” of the worlds—such as Muspelheim, Jötunheim, Niflheim, and so forth—and for perceiving them with full awareness.
Thus, it is stated in the “Skáldskaparmál”, Section 25:
How is the sea (Aegir) to be circumscribed? — By calling it Ymir’s blood, the visitor of the gods, the husband of Ran, and the father of Aegir’s daughters, who are named as follows: Himinglava, Dufa, Blodughadda, Hefring, Udr, Hrönn, Bylgja, Bara, and Kolga. Furthermore, it is referred to as the land of Ran, of Aegir’s daughters, and of ships…
The names of Aegir’s daughters could be interpreted—in relation to the Nine Worlds, for instance—in the following manner:
Wave Name | Meaning | Possible World |
Bylgja | Swelling Wave | Jötunheim / Embodiment |
Bara/Dröfn | Spray / Mist-Wave | Niflheim / Birth |
Kolga | Cold Wave | Vanaheim / Nature |
Dufa | Numb Wave / Subsidence | Niflhel / Death |
Hrönn | Surging Wave / Whirl | Midgard / Separation |
Blodughadda | Blood-haired / Red Spray | Muspelheim / Fire |
Hefring | Lifting Wave | Asgard / Fate |
Himinglava | Heavenly Radiance | Light- Alfheim / Light |
Udr/Unnr | Joyful Wave | Alfheim / Formation |
Similarly, “Gylfi’s Illusion” also signifies the “illusion of the foaming wave”. And one can easily imagine how, in the Prose Edda—where he appears in the guise of Gangleri, meaning “weary world-wanderer”—these waves are explained to him as worlds, such that the “wanderer” becomes a “wave-rider”. Accordingly, the text of “Gylfi’s Illusion” in the Prose Edda begins as follows:
1. King Gylfi ruled over the lands that are now called Sweden. It is said of him that he gave a wandering woman, as payment for her entertainment, as much arable land in his kingdom as four oxen could plough in a day and a night. But this woman was from the Aesir tribe and was called Gefjun (“the Giver of Wealth”). She took four oxen from the Giant's Home in the north—these were her sons, whom she had with a giant—and harnessed them to a plough. But the plough ploughed so wide and so deep that it tore the land loose. The oxen pulled it out to sea to the west until they stopped in a strait. There Gefjun fastened the land. She gave it a name and called it “Zealand”. And where the land had been torn out, a lake was found, which in Sweden is now called Löger. And the bays are distributed within it, like the headlands on Zealand. Then the skald Bragi the Old spoke:
Joyfully, Gefjun of Gylfi claimed the island as her own. The oxen toiled for the gain of Denmark. Four heads and eight crescent moons (eyes) carried the oxen, and they hauled the spoils to Zealand.
Here we find concentrated symbolism, offering much food for thought. Who is the goddess Gefjun, who, as the “Giver of Wealth”, wanders among the earthly kings of Midgard? Who is the goddess described as the mother of four giant oxen? Why does a goddess need land? Why does she pull a plough with oxen like a farmer? Later in the text, it says: “Gefjun is a virgin, and all who die as virgins serve her.” In this respect, we can again think of the pure soul of nature, the All-Mother and eternal virgin.
In our interpretation of the Beowulf saga (in German), we encountered Sweden as the realm of the ego, reminiscent of Midgard. Denmark, on the other hand, was the realm of the sons of gods, such as Scyld or Skjöld, the “Shield”, a divine protector. There, the communal Hall of the Deer was built, similar to Valhalla, which already strongly evokes Asgard.
This symbolism would also be fitting here, and we can easily imagine the goddess tearing the heart out of the realm of the ego and drawing it into the realm of the gods, using the immense power of embodiment. With this, she bestows “true wealth”—not just the manifold forms of nature, but also the path to unity and wholeness, not just partial wealth, but the entire one. Thus, she takes the king's personal possessions and grants him divine wholeness.
This symbolism, in a broader sense, also reminds us of a story from the Indian Puranas, in which Vishnu incarnated as a dwarf and asked the demon king for three paces of land. The king granted his request, the dwarf transformed into his whole form, and with three steps assumed complete dominion over the kingdom (see, for example, Harivamsha 3.71, in German).
Finally, the four heads of the oxen, as beings of embodiment, can remind us of the four cardinal directions of the nine worlds, and their eight moon-like eyes also of the secondary directions and their interplay of opposites. This also suggests the ultimate goal of this world circle: to draw closer to the divine or holistic realm.
2. King Gylfi was a clever and magically skilled man. He was greatly surprised that the Aesir were so powerful, that everything went according to their will. He wondered whether this stemmed from their own power or from the divine powers to which they offered sacrifices. He secretly set out for Asgard, disguised as an old man, and did not reveal his identity. But the Aesir were wise because they possessed the gift of prophecy. They foresaw his journey before he arrived and projected illusions upon him. When he entered their fortress, he beheld a hall so high that he could scarcely see over it. Its roof was covered like a shingle roof with golden shields.
Thus, “King Gylfi was a clever and magical man.” This likely means that the “foaming wave” on the sea of life was well-versed in the earthly magic of nature. However, not everything went according to his will. Presumably, he was also growing old. And after receiving Gefjun’s wealth and having his heart drawn to the divine, he now turned his mind to Asgard, the spiritual realm of the gods. He came in the form of an old man who “did not reveal himself” because he had not yet recognized himself and was now searching. The gods, of course, knew who he was, but received him with sensory illusions. Why? Well, with his conceptual mind, which can only think in terms of opposites, he could not yet comprehend anything else.
Thus, in the gods fortress of Asgard, he beheld a great hall whose end he could not see. Its roof was covered with “golden shields”, as is also described of Valhalla. The hall is reminiscent of a realm of consciousness, the gold of truth, and the shields of protection, so that the realm of consciousness in this divine world is protected by truth. That is why he could not see the end.
Thjodolf of Hvinir (a famous skald) also said that Valhalla was covered with shields:
On their backs, the battle-hardened (wise) men of Svafnir made their shields shine like shingles, for they were pelted with stones.
This mystical verse is reminiscent of the insightful nature of the Einherjar, who dwell in Valhalla. Throwing their shields over their backs was usually a sign of flight in battle, when warriors turned away from the enemy and protected their backs from arrows and projectiles. But here, it was likely an insightful feat of battle, a way to protect survival against the stones of material stagnation. Why?
Svafnir means “sleep-bringer” or “killer”. It is the name of a venomous serpent that gnaws at the root of the Tree of Life, Yggdrasil. Its scales are reminiscent of dragon scales, which in many legends are considered impenetrably hard against all earthly weapons. On the other hand, Svafnir is also a name of Odin, who, as the All-Father, is naturally embodied throughout creation. Thus, it likely refers to the fundamental question in which direction one bears this protective shield. Accordingly, one fights either as a lone warrior or as a united Einherjar, for partial or total possession. This is probably why the roof of Valhalla is symbolically covered with these golden shields, to protect the whole, and not so that everyone protects their own part with their own shield. This again hints at the great shift in perspective found in the world of Asgard: no longer fighting against something, but for everything.
Gylfi saw a man outside the hall door, juggling knives, seven at once in the air. The man asked him his name. He then called himself Gangleri and said he had come by winding paths and was looking for a place to sleep. He also asked who owned the hall. The man replied that it belonged to a king: “I will take you to him. There you can ask him his name yourself.” He then entered the hall, Gangleri followed him, and the doors closed behind his heels. There he saw many rooms and numerous people: some were playing games, others were drinking, and still others were practicing combat with weapons. He looked around, and much of what he saw seemed unbelievable. Then he said:
Behind every door, one should look before going any further.
For it is uncertain whether enemies are sitting on the bench before you.
Whom does Gylfi meet here in Asgard, before the hall's entrance? In this man, or rather, this spirit, we can recognize the conceptual mind, which “juggles” the eight worlds around him—one of the greatest arts. Juggling two or three worlds is already difficult, and seven or eight require divine mastery, as can be clearly seen in the diagram of the world circle above. For each world is like a sharp knife that can sever or at least wound our holistic being, even though it consists only of the light of consciousness.
Therefore, this man of intellect asks the newcomer's name, just as Gylfi asks the king's name, for the conceptual mind naturally needs a name and a concept for everything separate. He calls himself Gangleri, a “weary wanderer” who comes from the day of life, where he found his world in Midgard and established his realm and “camp”. But his day seems to be slowly coming to an end, and he seeks a “night's lodging” in Asgard to “spend the night” in order to preserve life even beyond death.
The divine spirit then led him into the great hall, whose doors immediately closed behind him. What had he left behind? Was he now imprisoned? Had he lost something? What awaited him now? There, he apparently glimpsed an entire world within the hall: many rooms and many people playing games, drinking mead or beer, and practicing combat with weapons. Yet it was again a world full of differences and separate beings, where enemies could lurk anywhere, as he could not comprehend with his intellect. And yet, “it seemed unbelievable to him”, which already hints at the first signs of doubt. Similarly, in the pantheon of Asgard, we too see different gods, goddesses, and other beings who seem to contradict and even fight each other. Our ordinary mind cannot understand it any other way. But it is always good not to let belief in outward forms become rigid, but to question them.
He saw three high seats, each higher than the last, and three men sat upon them. He asked the names of these leaders. The one who had led him in replied that the one in the nearest high seat was a king. He was called “the High One” (“Har”), and the one above him was called “the Equally High One” (“Jafnhar”), but the one at the very top was called “the Third One” (“Tridi”). Then the High One asked the newcomer if he had any further business. Food and drink were available for him, as for everyone in the High One's hall. He (Gangleri) said that first he wished to inquire whether any wise man was within. The High One replied that he would not leave safely unless he were wiser.
Stand while you ask.
Whoever answers should sit down.
He even glimpsed the king of this realm as three different men or spirits on three seats of varying heights, which at that time symbolized the status of rulers. And for this, he was given three names. Presumably, these refer to three manifestations of Odin, whose names are not further explained, but who answer Gangleri's questions on different levels, more or less comprehensively. Yet, “food and drink are available as for everyone in the hall of the High One”, which already suggests a holistic knowledge from which one can draw sustenance here. Nevertheless, Gangleri asks for a particularly “wise man”. To this, “the High One” admonishes him that “he will not leave here safely unless he himself is wiser”. A wonderful answer! “Safely” means healing and wholeness. And the wisdom for this must, of course, come from within, and not from outside—that is, from himself and not from others.
Thus, Gangleri, as a “wave rider” and “world wanderer”, begins to question his world of forms, in dialogue with the forms themselves. This is arguably also the task of our conceptual intellect: to question external forms and fathom the mysteries of the world in order to attain holistic reason and rediscover the divine vision. Gangleri is now on this path.
The final verse once again reminds us of the “intellect” that asks, and wisdom that sits upon the throne and foundation of all things should answer. Similarly, one still finds the traditional debate among monks in Buddhism today: the questioner and challenger stands, and the defenders and answerers sit on the floor.
Then Gangleri's questions begin with section §3, which we discussed earlier:
3. Then Gangleri began his questions: Who is the most distinguished and oldest of all the gods? …
Then followed over 40 more questions about gods and goddesses, as well as about the origin and dissolution of creation with all its worlds. And when the circle of cyclical renewal and re-creation had closed, the long conversation ended with the admonition of the “High One”:
“But if you can still ask more questions now, I don’t know where you got that from. For I have heard no one else speak more of the course of the world. Now use what you have heard!”
54. Next, Gangleri heard a great commotion all around him, and he looked to the side. But when he looked back, he was standing outside in a flat field, and saw neither the hall nor the castle. Thereupon, he went on his way and returned to his realm. There he recounted the events he had seen and heard. And after him, one person told these stories to another.
(Gylfaginning according to Arnulf Krause and Karl Simrock)
Yes, that is a wonderful message: when all circles close for the mind, the opposites dissolve, and the differences disappear. Then what remains is the vision of holistic reason, a divine seeing. In Buddhism, this is referred to as “emptiness”, unity in diversity, when everything harmoniously balances itself and only a “flat field” remains, boundless, without castles or halls. Yet the world remains “as it is”. The king returns from the “overnight”, the night of renewal, to his realm of day, and nothing is lost. No dead end of death, for the sea remains, and there will always be foaming waves, Gylfis and Gangleris. Wonderful! This is how these stories are still told to us today…
Thor’s Family
Thor is, of course, a son of the gods—sired by Odin, the All-Father, and born of Jörd, “Mother Earth”, in whom we can discern an aspect of the All-Mother. The Earth itself was born of Nott—”Night”—the daughter of a dark giant, and sired by Annar, or “Transformation”. This symbolism is profound: while the Earth is indeed a natural realm of night, it is also a place of transformation, growth, and the unfolding of life toward the light.
Thor’s principal wife is named Sif. Her name signifies “kin” or “relative”, and she appears as a golden-haired goddess who, alongside her husband, protects Midgard. We have already covered the story of her golden hair in detail in the chapter on Loki. Her hair reminds us of the creative thoughts of Mother Nature. Loki ensured that this hair was also linked to the shaping powers of the dwarves—themselves nature spirits—so as to preserve a living creation through the interplay of spirit and nature.
Their daughter is named Thrud. Her name means “strength” and may evoke the creative, feminine power of nature—particularly in Midgard—such that Thor’s own realm is known as “Thrudvang” or “Thrudheim”. The “Poetic Edda” contains a story about this daughter in the “Alvissmal”, featuring Alviss—the “all-knowing” dwarf—who seeks her hand in marriage. Although she is not explicitly named in the text, it is presumably Thrud. Thor was unenthusiastic about the match, even though a betrothal had already been arranged, because the dwarf evidently belonged to the race of the Dark Elves. This may hint at a problem similar to the one involving Sif’s hair: the creative, feminine power of nature ought not to marry a Dark Elf, for as dark nature spirits are bound to the natural realm. Consequently, the vitalizing spirit is lacking, even though the dwarf considers himself all-knowing regarding all the worlds. Thor resolves the situation by posing a series of conceptual questions until the sun rises over Midgard. The poem then concludes with the verse:
You lost the wager through cunning desires. The day casts its spell on you, dwarf, for the sun shines into the hall. (Alvissmal, The Lay of Alviss, after Karl Simrock)
It is generally believed that this dwarf turned to stone in the sunlight. This was presumably due to his conceptual, intellectual nature—a quality that could just as well have caused him to assume the form of any other petrified natural feature. Whom Thrud eventually married remains an open question in the Edda. Yet she, too, surely found a life-giving spirit.
Thor has a second woman in his life named Jarnsaxa. Her name means “Iron Sword”, yet she is mentioned only briefly in the Edda as a consort and the mother of Magni. She is considered a giantess and is presumably also the mother of Modi. Regarding Magni—whose name signifies “Might”, a giant-like-mighty strength he evidently inherited from his mother—the following story is told: After his father slew the giant Hrungnir (“the Noisy One”), the giant's leg fell upon him, and not even the Aesir could free Thor. Then Magni, a mere three days old, stepped in and freed his father. In gratitude, he received the giant's magnificent horse, Gullfaxi (“Golden-Mane”). We shall examine this story more closely later on. Beyond this, the only other accounts concerning Magni and Modi—representing “Might and Courage”—state that they survive Ragnarök and, in the renewed creation, inherit their father's hammer, Mjölnir (“the Crusher”).
Finally, there is a son of Sif named Ullr. His name may mean “Splendour” or “Glory”, and he is regarded as the god of winter. However, the Edda remains silent about his father. It is evidently not Thor, as he is referred to as Ullr's stepfather. But who else could it be? Considering the structure of the family tree, one might imagine Njördr as the father:
For golden-haired Sif, as the mother of Thrud and Ullr, strongly evokes the nature of the Vanir—beings associated with the natural realm—much as Thor is closely linked to the natural world of Midgard through his earth-mother. Regarding the War of the Vanir, the “Ynglinga Saga” (part of the “Heimskringla”) states—after the Vanir and Aesir had reached a peaceful settlement and Njördr had joined the Aesir: “While Njördr was among the Vanir, he had taken his sister as his wife—for such was lawful there—and their children were named Freyr and Freya. But among the Aesir, marriage between such close kin was forbidden” (see the chapter on Odin / Mimir’s Head). If we were to substitute “Ullr” for “Freyr and Freya” in this text, it would fit seamlessly into the Edda, which suggests that Freyr and Freya were the children of Skadi. In this way, the cycle of gods and goddesses representing summer and winter would be complete, as is clearly illustrated in the family tree above. As a Vanir, Njördr fathered Winter with Sif; as an Aesir, he fathered Summer with Skadi. Thor’s nature also fits into this circle, for Freyr and Freya are likewise described as traveling the world in chariots: Freyr’s chariot is drawn by the golden boar Gullinbursti, and Freya’s by two cats.
