Freyja
Introduction
Freyja (pronounced FRAY-yah) is one of the most prominent goddesses in Norse mythology, revered as a member of the Vanir (VAH-neer), a group of deities associated with fertility, nature, and magic. Known for her striking beauty and powerful presence, she rules over love, desire, and seiðr (SAYTH-er), a form of Norse sorcery tied to fate and transformation. Freyja resides in her splendid hall, Fólkvangr (FOHLK-vahng-er), where she welcomes half of the warriors slain in battle, sharing this honor with Odin (OH-din), who takes the other half to Valhalla (val-HAL-ah). Her name, meaning "lady" in Old Norse, reflects her status as a sovereign figure, and she is often depicted with her iconic golden necklace, Brísingamen (BREE-sing-ah-men), and a cloak of falcon feathers that allows her to shapeshift. Fiercely independent yet deeply passionate, Freyja embodies both tenderness and strength, making her a beloved and complex figure in the Norse pantheon.
Völuspá (VUH-loo-spaw) and Sorla Þáttr (SOR-lah THAWT-er) are two significant works in Norse mythology that feature Freyja, each casting her in distinct yet revealing lights. Völuspá, meaning "The Prophecy of the Seeress," is a foundational poem from the Poetic Edda, likely composed around the late 10th or early 11th century. It’s a sweeping narrative delivered by a völva (seeress) to Odin, recounting the creation, history, and eventual destruction of the world at Ragnarök. Freyja’s role here is subtle but pivotal: she’s credited with introducing seiðr (SAYTH-er), the mystical art of fate-weaving, to the Æsir (AY-seer) after the Æsir-Vanir war, marking her as a bridge between divine factions and a shaper of cosmic forces. In contrast, Sorla Þáttr, or "The Tale of Sorli," is a shorter, prose narrative from the 14th-century Flateyjarbók (FLAH-tay-yar-bohk) manuscript, blending mythology with Christian influences. It centers on Freyja’s bold pursuit of the necklace Brísingamen, which she secures by sleeping with four dwarves, only to face Loki’s theft at Odin’s command. Here, she’s a fierce, independent figure, reclaiming her treasure with unyielding resolve, showcasing her blend of desire and power. Together, these works frame Freyja as both a mystical influencer and a determined protagonist in Norse lore.
Worship Through Jewelry
The nearby photo is of a pendant discovered in a grave in Hagebyhöga parish, Östergötland, Sweden, a finely crafted artifact dated between 800 and 1100 C.E., offering a glimpse into ancient Norse beliefs. The pendant depicts a pregnant woman standing with her legs spread apart, her hands clasped gently under her swollen belly, exuding a quiet strength and maternal presence. There is much evidence to suggest that this figure represents Freyja, revered not only as the foremost of the Valkyries but also as a deity invoked during pregnancy and childbirth.
This connection to Freyja’s nurturing aspect is vividly echoed in the poem Oddrúnargrátr (ODD-roo-nar-GRAH-tr) from the Poetic Edda, where she is called upon after childbirth. In its original context, this pendant may have served as a talisman, embodying Freyja’s protective power over mothers and their newborns, linking the wearer to her divine influence across the sacred moments of birth and beyond.
The original photo was authored by the Swedish History Museum. The photo has been cropped and resized. License: CC-BY-SA 2.0
Postpartum Invocation
In Norse culture, the postpartum period was steeped in ritual, a time when new mothers and their infants were seen as both blessed and vulnerable, prompting invocations of powerful deities for protection and vitality. Among these, Freyja was a central figure, called upon to sanctify the transition into motherhood. This practice echoes in the Oddrúnargrátr (OTH-roon-ar-GRAH-tr), where Oddrún (OTH-roon) assists Borgny (BORGH-nyoo) through a grueling childbirth. In a pivotal scene, as Borgny (BORGH-nyoo) gives birth to twins, she invokes Freyja and Frigg (FRIG), offering thanks and seeking their favor, weaving the divine into the raw humanity of the postpartum experience.
The following is a translation of an except of Oddrúnargrátr. The 1936 translation by Henry Adams Bellows was used as a base. The English has been modernized.
Oddrun, Atli’s sister, caught the news—
The girl was sick, her state severe.
She grabbed a horse from the stable’s hold,
Saddled up that steed so dark and bold.
She rode across the open plain,
Till she hit a hall that towered high.
She stepped inside, unsaddled her ride,
And here’s the first thing she cried:
“What’s going on in this world below?
What’s stirring up in Hunland now?”
A servant answered, “Borgny’s here,
In agony—she needs you near.”
Oddrun asked, “Who caused this mess?
Why’s Borgny hit with sudden distress?”
The servant said, “It’s Vilmund’s doing—
He loved her up, kept it from view.”
No more words—they got to work.
Oddrun knelt by Borgny’s side,
Chanting strong with magic’s might,
Spells to ease the painful fight.
Soon a boy and girl were born,
Kids of the one who slew Hogni dead.
Borgny, weak, found her voice at last,
Speaking words she’d held so fast:
“May Frigg and Freyja, kind and true,
And all good gods look after you—
You pulled me through this wretched pain.”
Oddrun said, “I didn’t come
Because you earned my help this time.
I swore an oath way back when—
To aid whoever’s in the end.”