Фрейя: Богиня любви, плодородия и войны в скандинавской мифологии.

Norse goddess

In Norse mythology, Freyja (Old Norse "(the) Lady") is a goddess associated with love, beauty, fertility, sex, war, gold, and seiðr (magic for seeing and influencing the future). Freyja is the owner of the necklace Brísingamen, rides a chariot pulled by two cats, is accompanied by the boar Hildisvíni, and possesses a cloak of falcon feathers. By her husband Óðr, she is the mother of two daughters, Hnoss and Gersemi. Along with her twin brother Freyr, her father Njörðr, and her mother (Njörðr's sister, unnamed in sources), she is a member of the Vanir. Stemming from Old Norse Freyja, modern forms of the name include Freya, Freyia, and Freja. Freyja rules over her heavenly field, Fólkvangr, where she receives half of those who die in battle. The other half go to the god Odin's hall, Valhalla. Within Fólkvangr lies her hall, Sessrúmnir. Freyja assists other deities by allowing them to use her feathered cloak, is invoked in matters of fertility and love, and is frequently sought after by powerful jötnar who wish to make her their wife. Freyja's husband, the god Óðr, is frequently absent. She cries tears of red gold for him, and searches for him under assumed names. Freyja has numerous names, including Gefn, Hörn, Mardöll, Sýr, Vanadís, and Valfreyja. Freyja is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources; in the Prose Edda and Heimskringla, composed by Snorri Sturluson in the 13th century; in several Sagas of Icelanders; in the short story "Sörla þáttr; in the poetry of skalds; and into the modern age in Scandinavian folklore. Scholars have debated whether Freyja and the goddess Frigg ultimately stem from a single goddess common among the Germanic peoples. They have connected her to the valkyries, female battlefield choosers of the slain, and analyzed her relation to other goddesses and figures in Germanic mythology, including the thrice burnt and thrice reborn Gullveig/Heiðr, the goddesses Gefjon, Skaði, Þorgerðr Hölgabrúðr and Irpa, Menglöð, and the 1st century CE "Isis" of the Suebi. In Scandinavia, Freyja's name frequently appears in the names of plants, especially in southern Sweden. Various plants in Scandinavia once bore her name, but it was replaced with the name of the Virgin Mary during the process of Christianization. Rural Scandinavians continued to acknowledge Freyja as a supernatural figure into the 19th century, and Freyja has inspired various works of art.

The name Freyja transparently means 'lady, mistress' in Old Norse. Stemming from the Proto Germanic feminine noun *frawjōn ('lady, mistress'), it is cognate with Old Saxon frūa ('lady, mistress') or Old High German frouwa ('lady'; cf. modern German Frau). Freyja is also etymologically close to the name of the god Freyr, meaning 'lord' in Old Norse. The theonym Freyja is thus considered to have been an epithet in origin, replacing a personal name that is now unattested.

Freyja appears in the Prose Edda books Gylfaginning and Skáldskaparmál. In chapter 24 of Gylfaginning, the enthroned figure of High says that after the god Njörðr split with the goddess Skaði, he had two beautiful and mighty children (no partner is mentioned); a son, Freyr, and a daughter, Freyja. Freyr is "the most glorious" of the gods, and Freyja "the most glorious" of the goddesses. Freyja has a dwelling in the heavens, Fólkvangr, and that whenever Freyja "rides into battle she gets half the slain, and the other half to Odin [ ]". In support, High quotes the Grímnismál stanza mentioned in the Poetic Edda section above. High adds that Freyja has a large, beautiful hall called Sessrúmnir, and that when Freyja travels she sits in a chariot and drives two cats, and that Freyja is "the most approachable one for people to pray to, and from her name is derived the honorific title whereby noble ladies are called fruvor [noble ladies]". High adds that Freyja has a particular fondness for love songs, and that "it is good to pray to her concerning love affairs". In chapter 29, High recounts the names and features of various goddesses, including Freyja. Regarding Freyja, High says that, next to Frigg, Freyja is highest in rank among them and that she owns the necklace Brísingamen. Freyja is married to Óðr, who goes on long travels, and the two have a very fair daughter by the name of Hnoss. While Óðr is absent, Freyja stays behind and in her sorrow she weeps tears of red gold. High notes that Freyja has many names, and explains that this is because Freyja adopted them when looking for Óðr and traveling "among strange peoples". These names include Gefn, Hörn, Mardöll, Sýr, and Vanadís. Freyja plays a part in the events leading to the birth of Sleipnir, the eight legged horse. In chapter 42, High recounts that, soon after the gods built the hall Valhalla, a builder (unnamed) came to them and offered to build for them in three seasons a fortification so solid that no jötunn would be able to come in over from Midgard. In exchange, the builder wants Freyja for his bride, and the sun and the moon. After some debate the gods agree, but with added conditions. In time, just as he is about to complete his work, it is revealed that the builder is, in fact, himself a jötunn, and he is killed by Thor. In the meantime, Loki, in the form of a mare, has been impregnated by the jötunn's horse, Svaðilfari, and so gives birth to Sleipnir. In support, High quotes the Völuspá stanza that mentions Freyja. In chapter 49, High recalls the funeral of Baldr and says that Freyja attended the funeral and there drove her cat chariot, the final reference to the goddess in Gylfaginning. At the beginning of the book Skáldskaparmál, Freyja is mentioned among eight goddesses attending a banquet held for Ægir. Chapter 56 details the abduction of the goddess Iðunn by the jötunn Þjazi in the form of an eagle. Terrified at the prospect of death and torture due to his involvement in the abduction of Iðunn, Loki asks if he may use Freyja's "falcon shape" to fly north to Jötunheimr and retrieve the missing goddess. Freyja allows it, and using her "falcon shape" and a furious chase by eagle Þjazi, Loki successfully returns her. In chapter 6, a means of referring to Njörðr is provided that refers to Frejya ("father of Freyr and Freyja"). In chapter 7, a means of referring to Freyr is provided that refers to the goddess ("brother of Freyja"). In chapter 8, ways of referring to the god Heimdallr are provided, including "Loki's enemy, recoverer of Freyja's necklace", inferring a myth involving Heimdallr recovering Freyja's necklace from Loki. In chapter 17, the jötunn Hrungnir finds himself in Asgard, the realm of the gods, and becomes very drunk. Hrungnir boasts that he will move Valhalla to Jötunheimr, bury Asgard, and kill all of the gods—with the exception of the goddesses Freyja and Sif, who he says he will take home with him. Freyja is the only one of them that dares to bring him more to drink. Hrungnir says that he will drink all of their ale. After a while, the gods grow bored of Hrungnir's antics and invoke the name of Thor. Thor immediately enters the hall, hammer raised. Thor is furious and demands to know who is responsible for letting a jötunn in to Asgard, who guaranteed Hrungnir safety, and why Freyja "should be serving him drink as if at the Æsir's banquet". In chapter 18, verses from the 10th century skald's composition Þórsdrápa are quoted. A kenning used in the poem refers to Freyja. In chapter 20, poetic ways to refer to Freyja are provided; "daughter of Njörðr", "sister of Freyr", "wife of Óðr", "mother of Hnoss", "possessor of the fallen slain and of Sessrumnir and tom cats", possessor of Brísingamen, "Van deity", Vanadís, and "fair tear deity". In chapter 32, poetic ways to refer to gold are provided, including "Freyja's weeping" and "rain or shower [ ] from Freyja's eyes". Chapter 33 tells that once the gods journeyed to visit Ægir, one of whom was Freyja. In chapter 49, a quote from a work by the skald Einarr Skúlason employs the kenning "Óðr's bedfellow's eye rain", which refers to Freyja and means "gold". Chapter 36 explains again that gold can be referring to as Freyja's weeping due to her red gold tears. In support, works by the skalds Skúli Þórsteinsson and Einarr Skúlason are cited that use "Freyja's tears" or "Freyja's weepings" to represent "gold". The chapter features additional quotes from poetry by Einarr Skúlason that references the goddess and her child Hnoss. Freyja receives a final mention in the Prose Edda in chapter 75, where a list of goddesses is provided that includes Freyja.

The Heimskringla book Ynglinga saga provides a euhemerized account of the origin of the gods, including Freyja. In chapter 4, Freyja is introduced as a member of the Vanir, the sister of Freyr, and the daughter of Njörðr and his sister (whose name is not provided). After the Æsir–Vanir War ends in a stalemate, Odin appoints Freyr and Njörðr as priests over sacrifices. Freyja becomes the priestess of sacrificial offerings and it was she who introduced the practice of seiðr to the Æsir, previously only practiced by the Vanir. In chapter 10, Freyja's brother Freyr dies, and Freyja is the last survivor among the Æsir and Vanir. Freyja keeps up the sacrifices and becomes famous. The saga explains that, due to Freyja's fame, all women of rank become known by her name—frúvor ("ladies"), a woman who is the mistress of her property is referred to as freyja, and húsfreyja ("lady of the house") for a woman who owns an estate. The chapter adds that not only was Freyja very clever, but that she and her husband Óðr had two immensely beautiful daughters, Gersemi and Hnoss, "who gave their names to our most precious possessions".

Several plants were named after Freyja, such as Freyja's tears and Freyja's hair (Polygala vulgaris), but during the process of Christianization, the name of the goddess was replaced with that of the Virgin Mary. In the pre Christian period, the Orion constellation was called either Frigg's distaff or Freyja's distaff (Swedish Frejerock). Place names in Norway and Sweden reflect devotion to the goddess, including the Norwegian place name Frøihov (originally *Freyjuhof, literally "Freyja's hof") and Swedish place names such as Frövi (from *Freyjuvé, literally "Freyja's vé"). In a survey of toponyms in Norway, M. Olsen tallies at least 20 to 30 location names compounded with Freyja. Three of these place names appear to derive from *Freyjuhof ('Freyja's hof'), whereas the goddess's name is frequently otherwise compounded with words for 'meadow' (such as þveit, land) and similar land formations. These toponyms are attested most commonly on the west coast though a high frequency is found in the southeast. Place names containing Freyja are yet more numerous and varied in Sweden, where they are widely distributed. A particular concentration is recorded in Uppland, among which a number derive from the above mentioned *Freyjuvé and also *Freyjulundr ('Freyja's sacred grove'), place names that indicate public worship of Freyja. A variety of place names (such as Frøal and Fröale) have been seen as containing an element cognate to Gothic alhs and Old English ealh ("temple"), although these place names may be otherwise interpreted. In addition, Frejya appears as a compound element with a variety of words for geographic features such as fields, meadows, lakes and natural objects such as rocks. The Freyja name Hörn appears in the Swedish place names Härnevi and Järnevi, stemming from the reconstructed Old Norse place name *Hörnar vé (meaning "Hörn's vé").

A priestess was buried c. 1000 with considerable splendour in Hagebyhöga in Östergötland. In addition to being buried with her wand, she had received great riches which included horses, a wagon and an Arabian bronze pitcher. There was also a silver pendant, which represents a woman with a broad necklace around her neck. This kind of necklace was only worn by the most prominent women during the Iron Age and some have interpreted it as Freyja's necklace Brísingamen. The pendant may represent Freyja herself. A 7th century phalara found in a "warrior grave" in what is now Eschwege in northwestern Germany features a female figure with two large braids flanked by two "cat like" beings and holding a staff like object. This figure has been interpreted as Freyja. This image may be connected to various B type bracteates, referred to as the Fürstenberg type, that may also depict the goddess; they "show a female figure, in a short skirt and double looped hair, holding a stave or sceptre in her right hand and a double cross feature in the left". Upon its discovery, the 10th century Oseberg ship burial was found to contain a ceremonial wagon. One side of the ornate wagon features a depiction of nine cats. Scholars have linked this depiction to Freyja's cat led chariot and a broader associations between the Vanir and wagons. A 12th century depiction of a cloaked but otherwise nude woman riding a large cat appears on a wall in the Schleswig Cathedral in Schleswig Holstein, Northern Germany. Beside her is similarly a cloaked yet otherwise nude woman riding a distaff. Due to iconographic similarities to the literary record, these figures have been theorized as depictions of Freyja and Frigg respectively.

Due to numerous similarities, scholars have frequently connected Freyja with the goddess Frigg. The connection with Frigg and question of possible earlier identification of Freyja with Frigg in the Proto Germanic period (Frigg and Freyja common origin hypothesis) remains a matter of scholarly discourse. Regarding a Freyja Frigg common origin hypothesis, scholar Stephan Grundy comments, "the problem of whether Frigg or Freyja may have been a single goddess originally is a difficult one, made more so by the scantiness of pre Viking Age references to Germanic goddesses, and the diverse quality of the sources. The best that can be done is to survey the arguments for and against their identity, and to see how well each can be supported." Like the name of the group of gods to which Freyja belongs, the Vanir, the name Freyja is not attested outside of Scandinavia, as opposed to the name of the goddess Frigg, who is attested as a goddess common among the Germanic peoples, and whose name is reconstructed as Proto Germanic *Frijjō. Similar proof for the existence of a common Germanic goddess from which Freyja descends does not exist, but scholars have commented that this may simply be due to lack of evidence. In the Poetic Edda poem Völuspá, a figure by the name of Gullveig is burnt three times yet is three times reborn. After her third rebirth, she is known as Heiðr. This event is generally accepted as precipitating the Æsir–Vanir War. Starting with scholar Gabriel Turville Petre, scholars such as Rudolf Simek, Andy Orchard, and John Lindow have theorized that Gullveig/Heiðr is the same figure as Freyja, and that her involvement with the Æsir somehow led to the events of the Æsir–Vanir War. Outside of theories connecting Freyja with the goddess Frigg, some scholars, such as Hilda Ellis Davidson and Britt Mari Näsström [sv], have theorized that other goddesses in Norse mythology, such as Gefjon, Gerðr, and Skaði, may be forms of Freyja in different roles or ages.

Freyja and her afterlife field Fólkvangr, where she receives half of the slain, have been theorized as connected to the valkyries. Scholar Britt Mari Näsström points out the description in Gylfaginning where it is said of Freyja that "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."

Gustav Neckel, writing in 1920, connects Freyja to the Phrygian goddess Cybele. According to Neckel, both goddesses can be interpreted as "fertility goddesses" and other potential resemblances have been noted. Some scholars have suggested that the image of Cybele subsequently influenced the iconography of Freyja, the lions drawing the former's chariot becoming large cats. These observations became an extremely common observation in works regarding Old Norse religion until at least the early 1990s. In her book length study of scholarship on the topic of Freyja, Britt Mari Näsström (1995) is highly critical of this deduction; Näsström says that "these 'parallels' are due to sheer ignorance about the characteristics of Cybele; scholars have not troubled to look into the resemblances and differences between the two goddesses, if any, in support for their arguments for a common origin."

Into the modern period, Freyja was treated as a Scandinavian counterpart to the Roman Venus in, for example, Swedish literature, where the goddess may be associated with romantic love or, conversely, simply as a synonym for "lust and potency". In the 18th century, Swedish poet Carl Michael Bellman referred to Stockholm prostitutes in his Fredman's Epistles as "the children of Fröja". In the 19th century, Britt Mari Näsström observes, Swedish Romanticism focused less on Freyja's erotic qualities and more on the image of "the pining goddess, weeping for her husband". Freyja is mentioned in the first stanza ("it is called old Denmark and it is Freja's hall") of the civil national anthem of Denmark, Der er et yndigt land, written by 19th century Danish poet Adam Gottlob Oehlenschläger in 1819. In addition, Oehlenschläger wrote a comedy entitled Freyjas alter (1818) and a poem Freais sal featuring the goddess. The 19th century German composer Richard Wagner's Der Ring des Nibelungen opera cycle features Freia, the goddess Freyja combined with the apple bearing goddess Iðunn. In late 19th century and early 20th century Northern Europe, Freyja was the subject of numerous works of art, including Freyja by H. E. Freund (statue, 1821–1822), Freja sökande sin make (painting, 1852) by Nils Blommér, Freyjas Aufnahme uner den Göttern (charcoal drawing, 1881), and Frigg; Freyja (drawing, 1883) by Carl Ehrenberg (illustrator) [de], Freyja (1901) by Carl Emil Doepler d. J., and Freyja and the Brisingamen by J. Doyle Penrose (painting, 1862–1932). Like other Norse goddesses, her name was applied widely in Scandinavia to, for example, "sweetmeats or to stout carthorses". Vanadís, one of Freyja's names, is the source of the name of the chemical element vanadium, so named because of its many colored compounds.

Frigga (sometimes called Freyja) is a fictional character appearing in Marvel Comics starting in 1963. The character in particular is based on goddess Freyja of the Norse mythology. Starting in the early 1990s, derivatives of Freyja began to appear as a given name for girls. According to the Norwegian name database from the Central Statistics Bureau, around 500 women are listed with the first name Frøya (the modern Norwegian spelling of the goddess's name) in the country. There are also several similar names, such as the first element of the dithematic personal name Frøydis. Freyja is featured in several video games including the 2002 Ensemble Studios game Age of Mythology, the 2014 third person multiplayer online battle arena game Smite, the 2018 Santa Monica Studio game God of War, and in its 2022 sequel God of War Ragnarök. "Freya" is a song by American heavy metal band The Sword from their 2006 debut album Age of Winters. A playable cover version was featured in Guitar Hero II, released the same year.