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Norse Myths - Voluspa - A Symbolic Cross Section of an Ancient Norse Religious Poem - Part 2

Norse Myths - Voluspa - A Symbolic Cross Section of an Ancient Norse Religious Poem - Part 2

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Published by nick2olothian
This is the best book on Victory for the Children of Wotan. It will help to make you fulfilled in love, prosperous, energetic, and healthy.
This is the best book on Victory for the Children of Wotan. It will help to make you fulfilled in love, prosperous, energetic, and healthy.

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Published by: nick2olothian on Feb 03, 2012
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 ==== ====From Somervell’s abridgement of Toynbee’s “A Study Of History”, volumes 7-10 page 236: “An airof failure or, where there is not positive failure, futility surrounds practically all the examples ofArchaism that we have that we have been examinin, and the reason is not far to seek [should be“to be sought”]. The archaist is condemned, by the very nature of his enterprise, to be for evertryin to reconcile past and present…. If he tries to restore the past without takin the present intoconsideration, then the impetus of life ever movin onward will shatter his brittle construction intofragments. If on the other hand, he consents to subordinate his whim of resuscitatin the past tothe task of makin the present workable, his Archaism will prove a sham. Greetins, o Child ofWotan! RU fed up with bein treated like a 2nd-class citizen in your own land? Discover that, whichthe ancient sources prescribe for our victory! Check out THE BOOK OF WOTAN!http://www.amazon.com/gp/product/B0065QN8KW/ref=as_li_ss_tl?ie=UTF8&tag=4faskidstorem-20&linkCode=as2&camp=1789 ==== ====With the arrival of war, Asgard's wall is broken. The inevitable result of this, of course is the eternalwar with the Jotuns, but before we get to that, we need to take a look at what the wall representsand what it means to have it broken. The wall of Asgard separates the gods' heights from the restof the tree. It is both a fortification and a boundary separating one thing from another. It might evenbe argued that the only thing that makes Asgard Asgard is the wall, as the term itself can betranslated as "enclosure of the Aesir" or "the yard of the Aesir". An enclosure or a yard are definedby the wall around them, and so without the wall there is no As-'gard' per se. Without reading toodeep into the symbolism, it is safe to say that the Aesir needed the wall in order to maintain theorder of their kingdom, for without a boundary any force could easily pollute the purity of theiressence. Without a wall they would be easily subjected to the whims of forces more chaotic thanthemselves. The building of the wall is in itself another story, however it is significant to note thatits building is vital to the Aesir in their battle against the Vanir, but also in the creation of thesubsequent hostilities with the Jotuns that characterize the rest of history. Not only through thetrickery involved in getting the wall built is this hostility begun, but also through the very fact that atthis point the Aesir define themselves as a separate species from the Jotuns despite their commonheritage. They have created a world of order where the Jotuns begat chaos, and formulated theadult persona where the Jotuns would remain selfish and stupid children forever. More significantto the Aesir-Vanir war is the idea that through defining themselves as separate, they also place theideas of a well ordered egalitarian society above the more visceral and animal values of the fertilitygods. Through this process we also see the arrival of the Valkyries. They are the attending spirits of thefuture Einherjar. They are the shield maidens who act as intermediaries between the human andthe Aesiric realms. They are referred to as the "Daughters of Odin", however my own sourcesclaim that they are of several types, some being former humans who have attained to a state ofgrace through virtuous action in life who are raised to a state of immortality in death by the will of
Odin. They are said to be passed in families, though the truth may also be closer to themattending to certain individuals through many incarnations and re-incarnations over the centuries.They can be likened to the 'holy guardian angel' of hermetic tradition, though with an entirelydifferent flavor. Baldur's arrival is next in the poem. He is the solar deity it is impossible to contemplate withoutthinking of the Christ. This is most likely to have been a result of Christian influence in Icelandduring the recording of the Eddas. It was an influence which tainted the myths with the values and judgments of their Christian recorders. He is labeled 'the bleeding god' which may merely be areference to the story of his death at the hands of Loki. From the perspective of the story's scribes,however, there may have been a more direct attempt to draw parallels between Balder and Jesus.The mysteries of Balder are very similar to symbolism associated with Tiphareth, and it will benoted that Crowley placed him in that sphere in the table of correspondences with elephantitisknown commonly as liber 777. With this inflated tome, Crowley attempted to show the essentialunity of all religious iconography. Whether he succeeded in this or merely overlooked thoseessential idioms that define the individual, cultural, and geographical differences between thosephilosophies is anyone's guess. At any rate, the heart centre is pierced by the one substance inthe universe that Frigga overlooked as insignificant in her attempt to ensnare the wills of all beingsin the universe towards sparing her son. The jealous Loki does everything in his power to bringabout his demise in an underhanded way through guile. This may seem shocking to us if weconsider the bile Loki must have been swallowing to bring him to a state of jealousy great enoughto move him to murdering his fellow and pinning it on the victim's unwilling and blind brother,Hodur. It was likely to have seemed even viler a course of action to a Viking warrior brought up ina culture which valued assertive directness as the highest virtue. To one so raised, acting withsuch venom through subtle suggestion rather than candor must have embodied the principle of allthat was wrong in the world. That it would be a member of the victim's intimates so acting wouldcompound that shock. The weapon used to kill Balder is mistletoe. This is curious, as the weapon fashioned from themistletoe was a sharp and slender dart which would have been very difficult if not impossible tohave made from the weak and slender boughs of the European mistletoe plant, but Loki is a godand we have to assume that he has the magical power to make whatever he wants out of prettymuch whatever he wants. Mistletoe was also thought of as being a panacea by the druids, whichwould mean that its healing powers would have been perverted by Loki into murderousinstruments. At this point Loki's creative power is entirely perverted into a cruel aspect by his jealousy of the other gods' love of Balder. This is consistent with the mysteries of Tiphareth, whichrelates both to healing and to self-sacrifice. Raphael's Spear of Destiny is both the bringer of greatpain and the balm of quick release to the dying Christ. In a third aspect it is the caduceus of thegods of medicine. Vali is born of Odin's vengeance at this moment. Well, a short while after, anyways. One version isthat he uses seidcraft to beget Vali on Rind. Whatever his origins, Vali is born to vengeance. Vali'slife story can be read a warning against acting rashly in a spirit of vengefulness. Instead of killingthe actual perpetrator of the crime, Loki (radbandi), he instead slays the handbandi, Hodur theblind. The term 'handbandi' refers to the actual perpetrator in terms of whose hand strikes theblow. Hodur of course is innocent of everything aside from having been duped, and as anotherson of Odin's would have had value within the society that would make his loss felt deeply.Actually, he was one of the Aesir who seemed to have not been granted a station or a realm of
power in any written record, but I haven't asked him. This story may also be read in light of Odinbeing trapped by the very nature of his station. His honour compels him to follow through on hisword to avenge his son, even at the cost of another son whose innocence was well known. This initself lends further weight to the impression of Loki's guile, as his genius has hatched a plot he wassure to get away with, even while gloating openly about his involvement. Nordic ideas concerningthe honour of one's word are reflected in the Saga of Hrafnkel Frey's Godi, where Hrafnkel slays abeloved servant for riding a horse he has anointed to the service of Frey. He does this directlyafter the same servant finds and brings home many of Hrafnkel's lost sheep on the back of thishorse, and in full foresight of the difficulties with the family of the deceased that would arise as aresult of this action. Hrafnkel's word is as important to him as Odin's is to him at the time, thoughlater he swears off belief in the gods perhaps by his own rash actions which he thought were intheir service. Loki's gloating, though is not long lived, for in the next stanza we come across his punishment. Heis tied to a rock with the entrails of his son Narvi with Sigyn holding a cup over his face to preventthe venom dripping from teeth of the venomous serpent that hangs above him. Sigyn is anotherreflection of the selflessness of Tiphareth in this act, as she bears Loki's scorn while acting to easehis suffering. This is both a note about how even the cruelest of monsters is loved by someone,and a depiction of the role of the martyr in the Norse tradition. Sigyn's duty is tedious andunappreciated. One almost wants her to throw the cup in his face and walk off on her own way.Instead, she stays, in the same way that victims of spousal abuse remain in unpleasantrelationships out of fear of reprisal, and compassion for their oppressor. Loki is of Jotun birth himself, but imbued with Aesiric power by becoming blood brothers with Odin.Once he took aspect as a god, he was imbued with their creative magical force. He was alsonever really accepted as 'one of them' due to his Jotun heritage and turned treacherous as a resultof social isolation and the nagging thought that nobody was taking him seriously enough. Loki isseen in several aspects as a result of the process of his life. He goes from friend and companion,through to entertaining trickster into conniver, adulterer, zoophile, murderer, and finally herald ofthe forces of complete destruction that come to destroy the Aesir and end of all life in the universe.His darker aspects are bound by the Aesir who can't allow him to go unpunished for his crimesagainst them, or to have free reign due to the inimical and destructive character of Loki's use of hispowers. From Loki's prison beneath the earth, we then travel deeper into the shadow to a series of halls.Through the Venom Valley along the jagged rocks banking the river Gruesome we come to thefirst hall, that of Sindri's kin in Darkdale (Nidavellir). All of this imagery is of shadow material; ofopposition with an overt tone reflecting horror. That being said, it is unclear from the material whoSindri is. Whether he is a giant, or a dwarf, or even the hall of gold itself is unstated. The imageryof darkness, venom and horror would be consistent with what we know of the Jotuns, howeverthere is no source which will tell us definitively, and his name does not appear in any of the storiesin my knowledge aside from Voluspa. The name "Sindri" means "slag", which tells us little that wecould not glean from the other hints we have already discussed, except that the reference tosmelting ore would point at the dark elves. His hall stands in Nidavellir which may be a referenceto the fields of the dwarf "Nidi" which supports the theory of Sindri as a dwarf. Even if Nidavellir isnot Nidi's field but merely a dark field, then it may still support this theory as the dwarves werelovers of darkness. The fact that the hall is adorned with gold is also a signifier of dwarvenpresence, but we can not be completely sure without traveling there ourselves. There is certainly a

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