Валькирии в скандинавской мифологии

Figures in Norse mythology

In Norse mythology, a valkyrie (from ) is one of a host of female figures who guide souls of the dead to the god Odin's hall Valhalla. There, the deceased warriors become einherjar (Old Norse "single (or once) fighters"). When the einherjar are not preparing for the cataclysmic events of Ragnarök, the valkyries bear them mead. Valkyries also appear as lovers of heroes and other mortals, where they are sometimes described as the daughters of royalty, sometimes accompanied by ravens and sometimes connected to swans or horses. Valkyries are attested in the Poetic Edda (a book of poems compiled in the 13th century from earlier traditional sources), the Prose Edda, the Heimskringla (both by Snorri Sturluson) and the Njáls saga (one of the Sagas of Icelanders), all written—or compiled—in the 13th century. They appear throughout the poetry of skalds, in a 14th century charm, and in various runic inscriptions. The Old English cognate term wælcyrge appears in several Old English manuscripts, and scholars have explored whether the term appears in Old English by way of Norse influence, or reflects a tradition also native among the Anglo Saxon pagans. Scholarly theories have been proposed about the relation between the valkyries, the Norns, and the dísir, all of which are supernatural figures associated with fate. Archaeological excavations throughout Scandinavia have uncovered amulets theorized as depicting valkyries. In modern culture, valkyries have been the subject of works of art, musical works, comic books, video games and poetry.

The word valkyrie derives from Old Norse valkyrja (plural valkyrjur), which is composed of two words: the noun valr (referring to the slain on the battlefield) and the verb kjósa (meaning "to choose"). Together, they mean 'chooser of the slain'. The Old Norse valkyrja is cognate to Old English wælcyrge. From the Old English and Old Norse forms, philologist Vladimir Orel reconstructs the Proto Germanic form [[wikt:Reconstruction:Proto Germanic/walakuzjǭ. However, the term may have been borrowed into Old English from Old Norse: see discussion in the Old English attestations section below. Other terms for valkyries in Old Norse sources include óskmey ("wish maid"), appearing in the poem Oddrúnargrátr, and Óðins [[wikt:mey ("Odin's maids"), appearing in the Nafnaþulur. Óskmey may be related to the Odinic name Óski (roughly meaning "wish fulfiller"), referring to the fact that Odin receives slain warriors in Valhalla. The name Randalín, which Aslaug is called in Ragnars saga loðbrókar, when she joins her sons to avenge their brothers Agnarr and Eric in Sweden, is probably from Randa Hlín, which means "shield goddess", i. e. a kenning for "Valkyrie".

Valkyries are mentioned or appear in the Poetic Edda poems Völuspá, Grímnismál, Völundarkviða, Helgakviða Hjörvarðssonar, Helgakviða Hundingsbana I, Helgakviða Hundingsbana II and Sigrdrífumál.

In stanza 30 of the poem Völuspá, a völva (a travelling seeress in Norse society) tells Odin that "she saw" valkyries coming from far away who are ready to ride to "the realm of the gods". The völva follows this with a list of six valkyries: Skuld (Old Norse, possibly "debt" or "future") who "bore a shield", Skögul ("shaker"), Gunnr ("war"), Hildr ("battle"), Göndul ("wand wielder") and Geirskögul ("Spear Skögul"). Afterwards, the völva tells him she has listed the "ladies of the War Lord, ready to ride, valkyries, over the earth". In the poem Grímnismál, Odin (disguised as Grímnir), tortured, starved and thirsty, tells the young Agnar that he wishes that the valkyries Hrist ("shaker") and Mist ("cloud") would "bear him a [drinking] horn", then provides a list of 11 more valkyries who he says "bear ale to the einherjar"; Skeggjöld ("axe age"), Skögul, Hildr, Þrúðr ("power"), Hlökk ("noise", or "battle"), Herfjötur ("host fetter"), Göll ("tumult"), Geirahöð ("spear fight"), Randgríð ("shield truce"), Ráðgríð ("council truce") and Reginleif ("power truce").

A prose introduction in the poem Völundarkviða relates that the brothers Slagfiðr, Egil and Völund dwelt in a house sited in a location called Úlfdalir ("wolf dales"). There, early one morning, the brothers find three women spinning linen on the shore of the lake Úlfsjár ("wolf lake"), and "near them were their swan's garments; they were valkyries". Two daughters of King Hlödvér are named Hlaðguðr svanhvít ("swan white") and Hervör alvitr (possibly meaning "all wise" or "strange creature"); the third, daughter of Kjárr of Valland, is named Ölrún (possibly meaning "beer rune"). The brothers take the three women back to their hall with them—Egil takes Ölrún, Slagfiðr takes Hlaðguðr svanhvít and Völund takes Hervör alvitr. They live together for seven winters, until the women fly off to go to a battle and do not return. Egil goes off in snow shoes to look for Ölrún, Slagfiðr goes searching for Hlaðguðr svanhvít and Völund sits in Úlfdalir.

At the beginning of the poem Helgakviða Hundingsbana II, a prose narrative says that King Sigmund (son of Völsung) and his wife Borghild (of Brálund) have a son named Helgi, who they named for Helgi Hjörvarðsson (the protagonist of the earlier Helgakviða Hjörvarðssonar). After Helgi has killed King Hunding in stanza 4, a prose narrative says that Helgi escapes, consumes the raw meat of cattle he has slaughtered on a beach, and encounters Sigrún. Sigrún, daughter of King Högni, is "a valkyrie and rode through air and sea", and she is the valkyrie Sváva reincarnated. In stanza 7, Sigrún uses the phrase "fed the gosling of Gunn's sisters". Gunnr and her sisters are valkyries, and these goslings are ravens, who feed on the corpses left on the battlefield by warriors. After stanza 18, a prose narrative relates that Helgi and his immense fleet of ships are heading to Frekastein, but encounter a great storm. Lightning strikes one of the ships. The fleet sees nine valkyries flying through the air, among whom they recognise Sigrún. The storm abates, and the fleets arrive safely at land. Helgi dies in battle, yet returns to visit Sigrún from Valhalla once in a burial mound, and at the end of the poem, a prose epilogue explains that Sigrún later dies of grief. The epilogue details that "there was a belief in the pagan religion, which we now reckon [is] an old wives' tale, that people could be reincarnated" and that "Helgi and Sigrun were thought to have been reborn" as another Helgi and valkyrie couple; Helgi as Helgi Haddingjaskaði and Sigrún as the daughter of Halfdan; the valkyrie Kára. The epilogue details that further information about the two can be found in the (now lost) work Káruljóð.

In the prose introduction to the poem Sigrdrífumál, the hero Sigurd rides up to Hindarfell and heads south towards "the land of the Franks". On the mountain Sigurd sees a great light, "as if fire were burning, which blazed up to the sky". Sigurd approaches it, and there he sees a skjaldborg with a banner flying overhead. Sigurd enters the skjaldborg, and sees a warrior lying there—asleep and fully armed. Sigurd removes the helmet of the warrior, and sees the face of a woman. The woman's corslet is so tight that it seems to have grown into the woman's body. Sigurd uses his sword Gram to cut the corslet, starting from the neck of the corslet downwards, he continues cutting down her sleeves, and takes the corslet off of her. The woman wakes, sits up, looks at Sigurd, and the two converse in two stanzas of verse. In the second stanza, the woman explains that Odin placed a sleeping spell on her she could not break, and due to that spell she has been asleep a long time. Sigurd asks for her name, and the woman gives Sigurd a horn of mead to help him retain her words in his memory. The woman recites a heathen prayer in two stanzas. A prose narrative explains that the woman is named Sigrdrífa and that she is a valkyrie. A narrative relates that Sigrdrífa explains to Sigurd that there were two kings fighting one another. Odin had promised one of these—Hjalmgunnar—victory in battle, yet she had "brought down" Hjalmgunnar in battle. Odin pricked her with a sleeping thorn in consequence, told her she would never again "fight victoriously in battle", and condemned her to marriage. In response, Sigrdrífa told Odin she had sworn a great oath that she would never wed a man who knew fear. Sigurd asks Sigrdrífa to share with him her wisdom of all worlds. The poem continues in verse, where Sigrdrífa provides Sigurd with knowledge in inscribing runes, mystic wisdom, and prophecy.

A witchcraft trial held in 1324 in Bergen, Norway, records a spell used by the accused Ragnhild Tregagás to end the marriage of her former lover, a man named Bárd. The charm contains a mention of the valkyrie Göndul being "sent out":
I send out from me the spirits of (the valkyrie) Gondul. May the first bite you in the back. May the second bite you in the breast. May the third turn hate and envy upon you.

The Old English wælcyrge appears several times in Old English manuscripts, generally to translate foreign concepts into Old English. It is used in the sermon Sermo Lupi ad Anglos, where it is thought to appear as a word for a human "sorceress". An early 11th century manuscript of Aldhelm's De laudis virginitatis (Oxford, Bodleian library, Digby 146) glosses ueneris with wælcyrge (with gydene meaning "goddess"). wælcyrge is used to translate the names of the classical furies in two manuscripts (Cotton Cleopatra A. iii, and the older Corpus Glossary). In the manuscript Cotton Cleopatra A. iii, wælcyrge is also used to gloss the Roman goddess Bellona. A description of a raven flying over the Egyptian army appears as wonn wælceaseg (meaning "dark one choosing the slain"). Scholarly theories debate whether these attestations point to an indigenous belief among the Anglo Saxons shared with the Norse, or if they were a result of later Norse influence (see section below). According to Mindy MacLeod and Bernard Mees, the amulets appear in Viking Age graves, and were presumably placed there because "they were thought to have protective powers". The 11th century runestone U 1163 features a carving of a female figure bearing a horn that has been interpreted as the valkyrie Sigrdrífa handing the hero Sigurd (also depicted on the stone) a drinking horn. In 2013, a small figure dated at around 800 AD was discovered in Hårby, Denmark by three amateur archaeologists. The figurine portrays a woman with long hair knotted into a ponytail who is wearing a long dress which is sleeveless and vest like at the top. Over the top of her dress she is wearing an embroidered apron. Her clothing keeps the woman's arms unobstructed so she can fight with the sword and shield she is holding. Commenting on the figure, archaeologist Mogens Bo Henriksen said that "there can hardly be any doubt that the figure depicts one of Odin's valkyries as we know them from the sagas as well as from Swedish picture stones from the time around AD700".

Various theories have been proposed about the origins and development of the valkyries from Germanic paganism to later Norse mythology. Rudolf Simek suggests valkyries were probably originally viewed as "demons of the dead to whom warriors slain on the battlefield belonged", and that a shift in interpretation of the valkyries may have occurred "when the concept of Valhalla changed from a battlefield to a warrior's paradise". Simek says that this original concept was "superseded by the shield girls—Irish female warriors who lived on like the einherjar in Valhall." Simek says that the valkyries were closely associated with Odin, and that this connection existed in an earlier role as "demons of death". Simek states that due to the shift of concept, the valkyries became popular figures in heroic poetry, and during this transition were stripped of their "demonic characteristics and became more human, and therefore become capable of falling in love with mortals [ ]." Simek says that the majority of the names of the valkyries point to a warlike function, that most of valkyrie names do not appear to be very old, and that the names "mostly come from poetic creativity rather than from real folk belief." Hilda Ellis Davidson says that, regarding valkyries, "evidently an elaborate literary picture has been built up by generations of poets and storytellers, in which several conceptions can be discerned. We recognise something akin to Norns, spirits who decide destinies of men; to the seeresses, who could protect men in battle with their spells; to the powerful female guardian spirits attached to certain families, bringing luck to youth under their protection; even to certain women who armed themselves and fought like men, for whom there is some historical evidence from the regions round the Black Sea". She adds that there may also be a memory in this of a "priestess of the god of war, women who officiated at the sacrificial rites when captives were put to death after battle." Davidson places emphasis on the fact that valkyrie literally means "chooser of the slain". She compares Wulfstan's mention of a "chooser of the slain" in his Sermo Lupi ad Anglos sermon, which appears among "a blacklist of sinners, witches and evildoers", to "all the other classes whom he [Wulfstan] mentions", and concludes as those "are human ones, it seems unlikely that he has introduced mythological figures as well." Davidson points out that Arab traveller Ibn Fadlan's detailed account of a 10th century Rus ship funeral on the Volga River features an "old Hunnish woman, massive and grim to look upon" (who Fadlan refers to as the "Angel of Death") who organises the killing of the slave girl, and has two other women with her that Fadlan refers to as her daughters. Davidson says that "it would hardly be surprising if strange legends grew up about such women, who must have been kept apart from their kind due to their gruesome duties. Since it was often decided by lot which prisoners should be killed, the idea that the god "chose" his victims, through the instrument of the priestesses, must have been a familiar one, apart from the obvious assumption that some were chosen to fall in war." Davidson says that it appears that from "early times" the Germanic peoples "believed in fierce female spirits doing the command of the war god, stirring up disorder, taking part in battle, seizing and perhaps devouring the slain."

The goddess Freyja and her afterlife field Fólkvangr, where she receives half of the slain, has been theorized as connected to the valkyries. Britt Mari Näsström points out the description in Gylfaginning where it is said of Freyja "whenever she rides into battle she takes half of the slain", and interprets Fólkvangr as "the field of the Warriors". Näsström notes that, just like Odin, Freyja receives slain heroes who have died on the battlefield, and that her house is Sessrumnir (which she translates as "filled with many seats"), a dwelling that Näsström posits likely fills the same function as Valhalla. Näsström comments that "still, we must ask why there are two heroic paradises in the Old Norse view of afterlife. It might possibly be a consequence of different forms of initiation of warriors, where one part seemed to have belonged to Óðinn and the other to Freyja. These examples indicate that Freyja was a war goddess, and she even appears as a valkyrie, literally 'the one who chooses the slain'." Siegfried Andres Dobat comments that "in her mythological role as the chooser of half the fallen warriors for her death realm Fólkvangr, the goddess Freyja, however, emerges as the mythological role model for the Valkyrjar and the dísir".

Valkyries have been the subjects of various poems, stories, works of art, and musical works. In poetry, valkyries appear in "Die Walküren by H. Heine (appearing in Romanzero, 1847), "Die Walküren (1864) by H. v. Linge, and "Sköldmon (appearing in Gömda Land, 1904). In music, they appear in Die Walküre by Richard Wagner (1870), from which the "Ride of the Valkyries" is the best known theme. In literature, Valkyries make an appearance in Hans Christian Andersen's fairy tale "The Marsh King's Daughter". Works of art depicting valkyries include Die Walküren (sketch, 1818) by J. G. Sandberg, Reitende Walküre (fresco), previously located in Munich palace but now destroyed, 1865–66 by M. Echter, Valkyrien and Valkyriens død (paintings, both from 1860), Walkürenritt (etching, 1871) by A. Welti, Walkürenritt (woodcut, 1871) by T. Pixis, Walkürenritt (1872) by A. Becker (reproduced in 1873 with the same title by A. v. Heyde), Die Walkyren (charcoal, 1880) and Walkyren wählen und wecken die gefallenen Helden (Einherier), um sie vom Schlachtfield nach Walhall zu geleiten (painting, 1882) and Walkyrenschlacht (oil painting, 1884) by K. Ehrenberg, Walkürenritt (oil painting, 1888, and etching, 1890) by A. Welti, Walküre (statue) by H. Günther, Walkürenritt (oil painting) by H. Hendrich, Walkürenritt (painting) by F. Leeke, Einherier (painting, from around 1900), by K. Dielitz, The Ride of the Valkyries (painting, from around 1900) by J. C. Dollman, Valkyrie (statue, 1910) and Walhalla freeze (located in the Ny Carlsberg Glyptotek, Copenhagen, 1886–87), Walkyrien (print, 1915) by A. Kolb, and Valkyrier (drawing, 1925) by E. Hansen.