POTENTIALITIES OF LOKI

The figure of Loki is as fascinating as he is problematic. Jan de Vries (1933), Hilding Celander (1914)
and Folke Strm (1956) characterise Loki as a problem, while to Anne Holtsmark (1962) he remains
a riddle. To this day scholars are divided on how to categorise Loki. Some call him a god, others a
giant, an elf (Karl Weinhold 1849:13) or a demon, and often they do not define what they mean by
these appellations .i Is Loki a demon? Or, as according to Jakob Grimm (1835) (1953:199f.), a fire elf?
Does Lokis alleged fire nature (Karl Simrock 1887:99) imply that he is a destroyer (Karl Simrock
1887:99)? Is he evil (Hermann Schneider 1938:241), the Lucifer of the North (Sophus Bugge
1881:10)? The cunning trickster (Jan de Vries 1933)? Or death (Anatoly Liberman 1992:142)? Of
course, a conference presentation cannot provide answers to all of these questions, but let us
concentrate briefly on one of them, Loki as evil.

To find the key to unlocking the mystery surrounding the figure of Loki, we must examine the
literature. Most literary sources date to Christian times. Only few might have been created earlier,
during the siaskipti or even in heathen times. One of these is the skaldic poem Haustlng. One of
our major sources, the Snorra-Edda, is however written by a Christian, who seemed to have two main
ambitions:

1. Gaining and increasing personal wealth and power,

2. Establishing and maintaining an Iceland independent from Norway.

He wrote both Edda and Heimskringla between two journeys to Norway, where he argued for the
independence of Iceland. Traces of his ambition for independence are reflected in Heimskringla
(namely in Hkonar saga ga and lfs saga Tryggvasonar) which shows that the Norwegians
gambled away their chance for a peaceful Christianisation, whereas the people of Iceland were clever
enough to accept the new faith in order to maintain social order.

On closer examination, Heimskringla should not only be understood as a history of the Norwegian
kings, but also as a milestone towards the independence of Iceland. It is worth examining the Ynglinga
saga in this light as well. The history of the Ynglingar could not begin with gods since to the Christian
mind, these were not gods, but demons, which by definition could not be integrated into the family
tree of the Nordic people and their Christian kings. On the other hand, misguided people serving
demons and becoming deified by mistake after their death could. The description of the sir and their
worship corresponds to the understanding of demons and their worship as described by Augustinus in
De Civitate Dei (Weber 2001:94). It may also correspond to common superstitions of afturgngur and
the Christian idea of necromantia as described by Thomas von Aquin for example. Snorri used this
device to integrate not only (heathen) history, but also strongly rooted heathen traditions into the
Nordic peoples self-perception within Christian times. Both of these formed the basis of an otherwise
lost identity.

This concept of demonisation only worked for the history of the Nordic people within Heimskringla,
however. In his Edda, Snorris aim was to preserve the cultural tradition and art of skaldic stanza,
which depends on the kenningar created on the basis of heathen tradition.He could therefore only use
fine nuances. One example of this is the distinction between the lfar in ljslfar and dkklfar.
Snorra-Edda is an excellent example of the art of connecting pre-Christian and Christian ideas often
using nothing but fine nuances. This resulted in a mythological system and chronology that may not
have existed before but one which had enormous impact potential. One of the general impacts not
only found in Snorra-Edda, but also in the Eddaic poems is the ensuing descent of the powers of
chaos. But the descent of personifications of these powers of the giants, elves, Loki (vmm allra
goa, as Snorri calls him) also has an impact on the development of those gods who at first sight
seemed to be connected to order rather than chaos. Of course these terms can only be used in a
supporting role and any further discussion of them would be beyond the purpose of this presentation.
We will therefore use them keeping in mind that they represent a modern and maybe not totally
appropriate point of view. The gods become accomplices of chaos because they use the powers of
chaos for their own profit without realising that this is one step towards ragnark. According to
Gylfaginning (42) they plot to cheat and kill the giant builder. According to Hymiskvia (34-36) rr
kills a giant whose only guilt is to defend his brew kettle against rr, who wants to steal it.
Lokasenna presents the gods as sinful and morally condemnable creatures who sleep with dwarfs
and their own brothers and sisters, who betray their husbands and wives, who lose the weapon they
need for ragnark because of their horniness and so on.

The gods are seduced by magic, their own greed and evil powers and therefore bear sole
responsibility for their own doom. The Christian mind has no mercy for devils, demons and sinners of
this kind. The Ynglinga saga (10) refers to Freyr as veraldargo, a term that could not be any closer to
Christian terms for the devil. Grmsnisml calls inn Blverkr Skldskaparml (6) Yggr. In
Eyvindr skldaspillirs Hkonarml Hkon says inn is illigr. In Galdrabk he is the Ille. These
terms demonstrate the evil nature of inn and the increasing manifestation of this evilness as time
goes by.

Nevertheless, this development could also take place in reverse. The Nirstigninga saga refers to the
migarsormr when meaning the devil (Otto Gschwantler 1968:153). In the Stockholm Homelies
Book someone noted migarsormr over leviaan (Otto Gschwantler 1968).

There is not a single piece of literary evidence, however, that Loki was ever compared to the devil.
The myths surrounding him (especially the closer ragnark gets) do nevertheless show some parallels
between these two figures, for example the captivity or role of scapegoat played by Loki in the giant
builder myth told by Snorri (Gylfaginning 42), where Loki seems to receive all subsequent blame.
There is no evidence in the myth, as told by Snorri, that Loki is guilty, but blaming Loki seems to
draw the attention away from the collective guilt of the gods who wanted to cheat the giant of his fee .
Loki must therefore take the blame for everyone. But that still does not excuse the ensuing deception
and murder of the giant. Christians are unequivocal in their belief that you cannot escape your guilt
even if you have found a scapegoat to bear it for you. And there is another parallel between the devil
and Loki in hisrole as accuser (Hiob 1,6 ff.) (John McKinnell 1994), the diabolos in the original Greek
senseii. In Lokasenna it is Loki who holds up the mirror to the gods so they can see where their greed
and sins will lead them. He also refuses to go on playing the role of scapegoat. So, who else does?
Baldr? Lokis involvement in Baldrs death is passionately discussed and is sometimes used to
unmask Lokis evil nature. But Lokis role seems to be as doubtful here as the notion that the
death of Baldr is murder at all. In Vluspa (31) the vlva says:

Ek s Baldri,
blgum tvur,
ins barni,
rlg folgin ... (Guni Jnsson 1954:I,11)

This is the only occurrence of tvurr within the Eddaic poetry. It might be a singular for the plural tvar
gods, but the etymology is doubtful. It could mean god or sacrifice, and could be compared to
the biblic appellation of Isaac and Christ (Ursula Dronke 1997:139). Together with the adjective
blugr, the more probable meaning is sacrifice. In addition, the skalds know the kenning heilagr
tafn holy sacrificeiii for Baldr (Hsdrpa 8).

The third line of stanza 31 of Vlusp calls Baldr ins barn or child of inn. Using the term barn
for one of the gods is unique here. So what might barn imply? Of course, Baldr is the son of inn, so
why the big deal? As there is no reason for the vlva to say something that obvious she would not do
this the term barn must have some hidden meaning. Maybe she is touching a sore spot? The barn is
not just a child, but also a member of the next generation, the generation whose time is yet to come.

More bewildering is the well-known question that inn asks Vafrnir: What did inn whisper
into his sons ear before the bl was raised (Vafrnisml, 54)?
 Hvat mlti inn,
r bl stigi,
sjalfr eyra syni? (Guni Jnsson 1954: I,82)

The bl could be a pyre for the dead Baldr. But what sense does it make to whisper into the ear of a
dead person? What if Baldr was not dead at that point in timeiv? This raises the question of inns
role in Baldrs death.

Many variants of a three-god bracteate, the most popular of which is the Fakse bracteate
(Copenhagen), show three figures generally considered to be inn, Baldr and possibly Loki or Hel
(Karl Hauck argues in various articlesv for Loki, Rudolf Simek 1984:56 for Hel). According to most of
the bracteates, Baldr stands on something like a platform with a cult pole, perhaps a kind of stallr.
Egill calls inn vinr stalla, friend of the altars. One indication that inn was involved in Baldrs
death is the sacrifices for inn carried out with a seemingly harmless branch as described in
Gautreks saga or Styrbjarnar ttr Svakappa for example. We could conclude that the bracteates do
not show a murder witnessed by a paralysed inn. Instead it gives the impression of a ceremony.
This impression is supported by Snorra-Edda. Gylfaginning (49) describes the scene in which Baldrs
dies as a ing at which the gods seem to enjoy themselves by shooting at a seemingly invulnerable
Baldr. The deadly shot hits Baldr in front of all the gods at this ing. Even Snorri refers in
Gylfaginning to the place of Baldrs death as some holy place: ar var sv mikill griastar (Guni
Jnsson 1954:III,80f.)

But why was Baldr killed? According to the presentation of ragnark in Vlusp, Baldr will return
after ragnark. But in order to be able to return, he first has to go. Maybe he has to be sent (senda)
rather than sacrificed (blta). And who could be more predestined for this role than Loki, who
according to Gylfaginning could no longer stand it that the gods were shooting at Baldr without
hurting him: En er etta s Loki Laufeyjarson, lkai honum illa, er Baldr sakai ekki (Guni
Jnsson: 1954:III,79f.)

We also have to consider the giantess kk here, who according to Snorri does not cry for Baldrs
death and thereby impedes his return. kk thank, meed, joy is at first sight a highly sarcastic name
for a giantess who brings misfortune to the gods by impeding the return of Baldr to the living.

We should also remember that inn uses Mmirs skull to access hidden knowledge and other worlds
(Vlusp 48, Sigrdrfuml 14, Ynglinga saga 4, 7). According to Vlusp, inn asks to know the
fate of the gods and learns both of their doom and the new world his son will inhabit. Against the
background of Vlusp and according to the argumentation so far, we may make the case that inn
consciously sacrifices/sends his son ahead of the looming onset of ragnark. He knows that this does
not mean Baldrs death but rather his transportation to another world. inn too sacrificed himself in
order to gain more knowledge. Such a sacrifice does not necessarily imply the death of the person
sacrificed, but can provide them with insight into other worlds in the state between alive and dead.

The literary tradition, especially Snorra-Edda, nevertheless seems to exclude inn from the killing
or rather sending of Baldr. The connections between inn and Baldrs death discussed above are
all that remain. This discussion has shown that we might have to reconsider inns role in this myth
as well as Lokis, inns blood brother (Lokasenna). The connection between inn and Loki seems
to be an ancient one and is indeed sometimes striking. More important however are the distinctions.
Loki does not seem to respect the rules and boundaries of the divine society, a fact perhaps already
demonstrated by his family tree. He is the only one among the sir whose father is a giant while his
mother belongs to the sir. In Lokasenna (23) inn calls Loki argr. Not only does Loki change
species, he also changes sex. inn too changes species; the Ynglinga saga (7) tells about inns
journeys in the shape of a bird, wild animal, fish and snake. But he respects the sex boundary. Loki on
the contrary crossed both boundaries at the same time. He is a foaling mare (Gylfaginning 42), a
child-bearing milk maid (Lokasenna 23) and the giantess kk. And indeed the gods have good
reason to be thankful. According to Vlusp, Baldr will return after ragnark. He will inhabit a
seemingly better world starting a kind of second golden age, in which he finds the golden items of the
former golden age in the grass.

According to Snorri it was Loki who forced the gods to take the next step towards ragnark. But as we
have seen, inn, as the one who knows the fate of Baldr, is also involved. Something else that we
must consider is the inconsistent lists of inhabitants of the new world after ragnark. While Vlusp
lists Baldr and Hnir as the innocent victims, Vafrnisml (51) concentrates on Varr, Vali,
Mi and Magni as the survivors:

Varr ok Vli
byggja v goa,
er sloknar Surta logi;
Mi ok Magni
skulu Mjllni hafa
Vingnis at vgroti. (Guni Jnsson 1954:I,81)

The survivors seem to be selected on one hand (Vlusp) by moral measurement and on the other
(Vafnrnisml) by natural sequence. Of course this is just one of many possible interpretations
located on different levels of understanding of the myths. For the purpose of this presentation
however, we will focus on the epic level.vi This process of a younger generation superseding the
elder one connected with the ragnark myth could be re-interpreted using Christian elements. In this
new view, the process becomes a purifying fire punishing the sinful gods. This move fulfilled several
functions.

1. On one hand, it succeeded in alienating those characteristics of the gods that did not fit into
the Christian worldview.
2. On the other hand, it succeeded in showing a critical distance to the old myths.
3. And last but not least, this clever move succeeded in propagating Christian ideas within pre-
Christian tradition, which led to a progression of tradition within Christian times and at the
same time prevented the negation of the tradition and history of the Nordic people.

Of course, this does not mean that the concept of ragnark did not exist before Christian times. It did.
In order to be able to connect a myth with Christian ideas, you need a certain shared or prefigurative
basis. But the moralistic value of this myth and Lokis negative and almost evil presentation
maybe even his leading part in the Baldr myth as well as his abuse as accuser in Lokasenna and
scapegoat in Gylfaginning (42) might have been developed under Christian influence. Let us call
this part of Lokis extramythological development. This is just one layer we have to consider when
interpreting Loki.

The kenningar used for Loki in Haustlng demonstrate that there is a second kind of development we
have to consider, a second layer: the intramythological development. Haustlng introduces Loki as
Hnis vinr (3), friend of Hnir and hrafnsar vinr (4), friend of inn. But from stanza 5 on, the
picture darkens. He is referred to as Frbautamgr (5), son of the giant Frbauti, the opponent of the
sir, bagvss svfrandi sa (5)vii, the burden of Sigyns arms, arma farmr Sigvinjar (6). Two stanzas
later he is called lfs fair (8), father of the wolf, which correlates with stanza 2 in which jazi is
called sntar lfr wolf of the woman. This development is also reflected in the myths told by Snorri
and the poetic Edda. In the beginning of the mythological world, Loki appears friendly. He is the one
who obtains Sleipnir (Vlusp in skamma 11, Gylfaginning 42), Mjllnir (Skldskaparml (43)),
Gungnir, Skblanir, Gullinborsti and Draupnir (all Skldskaparml 35). He is the one rr turns to
as soon as he notices that his hammer has been stolen, and Loki is the one who cheats the giants in
order to help rr get his hammer back (rymskvia). He is the one bringing movement into the story,
one of the sagna hrrir in jlfrs Haustlng. But the gods have lost their golden age and are now
living in a mythological world and time frame comparable to the human world. They have to fight for
their rising empire and also experience its downfall. Loki therefore only appears as their friend as long
as they are reaching their cultural climax. As soon as this climax is reached, however, any further
movement is just one step closer to ragnark. This is the crucial point at which the driving force Loki
increasingly becomes the enemy of the gods. Neutrally considered, Loki does not become the enemy
of the gods at all, nor has he ever been their friend. His function on the epic level of the myths is
simply to keep the wheel of history moving, ultimately towards ragnark.

From the Christian perspective, Loki at this point resigns from his role as scapegoat and turns into the
accuser. While the gods struggle against the coming of ragnark, he is the one holding up the mirror
for them, thereby reminding them that they have to bear the responsibility for the things to come. Yet
again, Loki appears as the enemy of the gods here, as the evil element among the gods. But as this
presentation has demonstrated, this is a very superficial interpretation of his role.

It is still worthwhile discussing Loki because he is often in a key position allowing us to question our
concept of Germanic mythology and understand its changeability, its intra- and extramythological
development and the impact of Christian ideas. In such a way we might say that there is no such thing
as a system or category within Germanic mythology (and not a single key to unlocking the
mystery surrounding the figure of Loki), but that the scholar has to learn to accept ambiguity and
flexibility as the real nature and challenge of Germanic mythology and especially of Loki.
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i
Karl Weinhold (1849:13) calls Loki Obergott der elbischen Geister compare Wilhelm Mannhardt (1858:86),
Elard H. Meyer (1891), Axel Kock (1899: 97f.), Paul Hermann (1903:410), Hermann Schneider (1938:248).
Eugen Mogk (Germanische Mythologie, dritter Neudruck. Berlin & Leipzig: G. J. Gschensche
Verlagsbuchhandlung GmbH, 1913, p. 55) calls Loki dmonischen Asen compare Dumzil (1962:87), Jan de
Vries (1955:4), R. L. M. Derolez (1963:156), Jerold C. Frakes (1987:485). Sometimes Loki is called elf (as well
as Kobold) (e.g. Karl Weinhold 1849:13, E. J. Gras 1931:11, Friedrich von der Leyen 1938:193, Frank Stanton
Cawley 1939:315). Some scholars call Loki a giant (George T. Flom 1938-1939:143) or discuss his family tree
(Margaret Clunies Ross 1994:64).
ii
Greek diabolos = (false) accuser, slanderer
iii
John Lindow (1997:74) changes the translation into dead body. He interprets Baldr not as a sacrifice, but as
a figure who died in a battle.
iv
Ursula Dronke (1992:683) compares this scene to the American indian horse sacrifice: In this longe rite, the
priest whispers into the ear of the horse, as he prepares for the sacrifice, an enumeration of all the good fortunes
that will come to the land because of the sacrifice. inn knows because the vlva has told him what new life
awaits Baldr and his world. This whisper of the god or the priest is a sp a prediction that brings fulfilment.
She calls inn a sacrificial god (660) and states that he plays a role in the death of Baldr.
v
See Karl Haucks various articles published in the Frhmittelalterliche Studien. Jahrbuch des Instituts fr
Frhmittelalterforschung der Universitt Mnster.
vi
This epic level is one of many levels according to my theory of a multi-layered mythology concept.
Unfortunately the explanation of this theory is beyond the scope of this presentation. For the purpose of this
presentation, it should be sufficient to understand this epic level as a level presenting an entertaining story of
gods, giants and other characters engaged in adventures taking place in a mythological backdrop. This level is
the basic mythological framework comparable to the canvas a painter needs in order to create a painting. It is the
simplest level that presents itself in an easily transmittable manner ensuring the continuity of mythological
content even when in the hands of people with less insight.
vii
Finnur Jnsson (1931 :449) connects this kenning to jazi.
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