Völuspá:
Prophecy of the seeress
Guide & English translation
© 2024 We Vikings guide and translation by Eiður Eyþórsson
of the eddic poem Völuspá (e. The Prophecy of the Seeress)
from Old Norse to English.
Table of contents
1
FOREWORDS
The Völuspá (e. Prophecy of the Seeress) poem is a cornerstone of Norse mythology. We Vikings have put together this English translation of the poem, along with a comprehensive guide to go with it. You’ll also find detailed explanations of archaic concepts and deeper analyses where applicable below the stanzas. For those who wish to explore the poem in its original language, we’ve also included the Old Norse version with normalized spelling beneath each stanza. Making this edition both an educational resource and a journey through Norse myth.
1.1
About the translation
When translating Völuspá We Vikings have prioritized the poem’s contents over its poetic structure. The poem is written in fornyrðislag, or “old story meter,” a style characterized by its heavy use of alliteration rather than rhyme. Alliteration is central to the rhythm and musicality of the poem, providing a sense of cohesion and structure. However, alliteration is often language-specific, meaning that the words that naturally alliterate in Old Norse may not do so in English. That’s why we have emphasized the poem’s meaning over its structure for this translation.
Now, for those who wish to delve deeper, we’ve also included the Old Norse version. Underneath each stanza is an “Original” button, which reveals the Old Norse edition with normalized spelling.
Below is an example of the difference between normalized spelling vs the original spelling:
St.61 (Normalized spelling)
Þar munu eftir
undrsamligar
gullnar töflur
í grasi finnask,
þærs í árdaga
áttar höfðu.
St.61 (Codex Regius spelling)
Þar mvno eptir
vndr samligar
gvllnar tꜹflor
igrasi fiɴaz.
þers i ardaga
attar hofðo.
The poem is full of references to Norse mythology. Concepts like Ragnarök, Yggdrasill, and various deities and creatures need to be translated in a way that preserves their original significance while making them accessible to readers who may not be familiar with Norse mythology. In those cases, we‘ve maintained the names but Anglicized their spelling and included explanatory notes or commentary, which are often necessary for full comprehension.
When Anglicizing Old Norse names a tradition has developed of translating the letter “ð” as “d”, even though it is technically incorrect. The letter’s sound is more similar to “th” in the word “that” than that of “d”. Since this translation spelling errors have been prominent for a a while, and people have gotten used to names like Odin (Old Norse: Óðinn), and Midgard (Old Norse: Miðgarðr), instead of Othinn and Mithgarth, those words will be Anglicized as has become the custom. Therefore, sometimes readers may see the letters translated as “d” and others times as “th” in the translation below. Even though the letter makes the sound “th” in all cases in “that”.
Völuspá is preserved in its entirety, in two separate manuscripts, Hauksbók and Konungsbók (Codex Regius). The manuscripts, although very similar, differ slightly in their presentation of Völuspá. Therefore, some editorial choices must be made when translating the poem. For this edition, We Vikings have taken the route of combining the contents of both sources.
2
A GUIDE TO VÖLUSPÁ
2.1
Introduction: What is VÖLUSPÁ?
Völuspá (pronounced Vo-lu-spo in Old Norse.), which translates to “The Prophecy of the Seeress,” is one of the most important and revered poems in Norse mythology. It forms the opening poem of the Poetic Edda, a collection of Old Norse poems preserved in the Icelandic Codex Regius manuscript from the 1200s. The poem is presented as a dramatic monologue, spoken by a völva, a seeress who recounts the creation of the world, the rise and fall of gods, and foretells the cataclysmic events of Ragnarök, the end of the world.
The poem is often considered as more than just a mythological text; also a key to understanding the worldview, beliefs, and values of the Viking Age. It provides a cosmic narrative that reflects the cyclical nature of time, the inevitability of fate, and the enduring conflict between order and chaos.
The cultural significance of Völuspá extends beyond its historical and religious context. It has influenced art, literature, and modern interpretations of Norse mythology, continuing to inspire a fascination with the Viking Age and its myths. The themes explored in the poem resonate with universal human concerns: the origin of existence, the nature of fate, and the eternal struggle between light and darkness. Voluspa’s rich imagery and evocative language make it a timeless piece of literature.
2.2
The Age of Völuspá
Völuspá is believed to have been composed during the late 900s or early 1000s. Although, it is unlikely that the exact age will ever be known for certain. However, by analyzing the contents of the sources, and the use of archaic language, this scholarly estimation of the age is as close as one gets to knowing the true age of the poem.
It was composed at a time of significant cultural and religious transformation in Scandinavia. An era of Viking exploration, Christianization, and the gradual decline of the old pagan traditions. The poem reflects these tensions, blending pagan themes with hints of Christian influence. An example of this Christian influence can be seen in stanza 65 of the poem. When god almighty comes from the heavens above after Ragnarök has ended.
Its portrayal of a world governed by fate, where even the gods are subject to inevitable doom, resonates with the existential concerns of a society in flux, grappling with the end of an era and the dawn of a new one.
2.3
Preservation of the Poem
The preservation of Völuspá owes much to the medieval Icelandic scribes who compiled the Poetic Edda in the 1200s. The poem survives in two primary manuscripts: the Codex Regius and the Hauksbók. These manuscripts have ensured that Völuspá, along with other Norse myths, has been passed down through the centuries. Despite the Christian context of these scribes, they preserved these pagan tales with remarkable fidelity, allowing us to glimpse the worldview and beliefs of the Viking Age. The poem’s preservation highlights the complex relationship between oral tradition and written records in Norse culture.
The poem cannot truly be viewed as a pure Viking Age poem, mainly because the oldest surviving record is written in Iceland, more than 200 years after the nation had been officially Christianized (c. 1000 A.D.) However, the country was not converted overnight to the new religion. People were still allowed to practice their pagan faith in private. And it is debatable how long it really took for the old religious influences to erode away, and the society to truly convert over to Christianity. People likely still cherished the stories they grew up on and passed them on to their children.
With that taken into account, the likelihood that the poem did not change one bit over the years before it was committed to writing is slim. Because even in the two primary sources of the poem, Konungsbók, and Hauksbók, written a few decades apart, there are already minor differences starting to show. Perhaps that is what mostly changed over the years, small additions and details, while the main plotline and motives were passed on.
The composer’s use of language may be telling of the intended audience of the poem. The composer would have had to be very straightforward if the audience wasn’t already familiar with the stories of Norse mythology. An audience like that would not have allowed drastic alterations to the poem.
That may have been the case, that it was both kept in check by those who performed the poem and the audience. A cultural heritage stored in people’s collective memory.
2.4
What Is Known About the Author?
The author of Völuspá remains unknown, as is the case with many works of Old Norse literature. It may have been the work of an anonymous skald in Iceland or Norway, who may have drawn on older oral traditions and communal memory. It could also be seen as a collective effort, where the original poem was altered over time, and bits were added with each generation who resided the poem.
The skald’s identity may therefore be obscured by the collective nature of Norse storytelling, where stories were shaped and reshaped by generations of storytellers. What we can observe from the poem is that the author was deeply familiar with Norse mythology and possessed a sophisticated command of poetic form and symbolism. The blend of pagan and Christian elements in the poem also suggests that the author lived during a time of cultural transition, perhaps in a society where old and new beliefs coexisted uneasily.
2.5
Summary: Overview
Völuspá is a narrative told by prophetic seeress, or völva, that tells of the cosmic story of creation, destruction, and rebirth. The poem begins with the creation of the world, detailing the emergence of the gods and the establishment of order in the cosmos. It then takes a turn to tally dwarfs, who play a role in shaping the world. The poem reaches its climax with an apocalyptic description of Ragnarök, the cataclysmic battle that leads to the end of the world. Despite the destruction, Voluspa concludes with a vision of a renewed world, hinting at the possibility of rebirth and hope.
2.5.1
The Beginning: Creation of the World
Stanzas 1-8
In the opening stanzas from 1-8, the völva calls upon ancient beings to hear her tale, beginning with the origins of the world. She describes the void before creation, when there was neither sand, sea, nor sky. Out of this nothingness, the gods emerge and shape the world, establishing the heavens and the earth. The World Tree, Yggdrasil, is introduced as a central element in this newly ordered cosmos, connecting all realms together. This section sets the stage for the mythological history that follows.
2.5.2
The Tally of Dwarfs
Stanzas 9-16
Following the creation narrative, Völuspá shifts its focus to the creation of the dwarfs and goes on to list their names. In Norse mythology, the dwarfs are mystical beings living beneath the earth, often associated with craftsmanship and the forging of powerful artifacts. While this section may seem tangential, it grounds the poem in the broader spectrum of beings that populate the Norse cosmos.
2.5.3
The Creation of the men, order of fate and the first war of the world
Stanzas 17-28
In this section, the narrative returns to the Völva’s knowledge of ancient times. She recounts how the first humans, Ask and Embla were given life and how Urd, Verdandi, and Skuld, the weavers of destiny decide their fate.
Next, she shifts her focus to the first conflict in the cosmos, recounting the Aesir-Vanir war. The Aesir attacked Gullveig, she was burned, and was reborn multiple times, marking the beginning of this war. This leads to councils among the gods regarding whether to pay tribute or share sacrifices. Odin initiates the war, and a fierce battle with the Vanir ensues. The focus also shifts to Thor’s wrath and the breaking of oaths, signaling deep divisions and treachery among the gods.
2.5.4
The Looming Threat of Ragnarök
Stanzas 28-42
By this point, the seeress has established her knowledge of ancient lore. The poem begins to move away from the past, and the focus begins to shift. She begins to speak of the future more and what it has in store for the world. Things begin to slide away from order into chaos, leading the world towards Ragnarök, the prophesied destruction of the world.
She recounts the tragic death of Baldr, Odin’s son, orchestrated by the trickster Loki, which sets off a chain of events. The völva describes ominous signs and portents, such as the breaking of oaths and the release of monstrous beings, which signal the approach of this inevitable doom. This section builds tension and foreshadows the catastrophic events to come.
2.5.5
Ragnarök: The End of the World
Stanzas 43-58
The climax of Völuspá is the dramatic and terrifying vision of Ragnarök, the end of the world. The völva details the cataclysmic events that unfold: the sky splits open, giants and monstrous creatures emerge to battle the gods, and the world is consumed by fire and chaos. The gods meet their doom in a final, all-encompassing battle, where even the mighty Odin falls. The world sinks into the sea, engulfed in flames, and all seems lost. This depiction of Ragnarök is both grand and apocalyptic, illustrating the ultimate collapse of the cosmos and the end of the current cycle of time.
2.5.6
The Renewal: A New Beginning
Stanzas 59-66
Despite the overwhelming destruction of Ragnarök, the poem concludes with a vision of hope and renewal. From the ashes of the old world, a new earth rises, green and fertile. The surviving gods, along with a new generation of humans, rebuild and repopulate this new world. The poem ends with a sense of continuity and rebirth, suggesting that even in the face of cataclysm, life endures and the cycle of creation begins anew. This final section underscores the cyclical nature of Norse cosmology, where destruction is not the end, but a precursor to renewal and regeneration.
3
VÖLUSPÁ: ENGLISH TRANSLATION
1
I ask for silence from all
the sacred beings,
the greater and the lesser
children of Heimdall;
you want me, Valfather,
to tell well and truly
of ancient tales of people,
those which I remember from the furthest past.
1
Hljóðs bið ek allar
helgar kindir,
meiri ok minni
mögu Heimdallar;
viltu at ek, Valföðr,
vel fyr telja
forn spjöll fira,
þau er ek fremst of man.
Children of Heimdall: In the poem Rígsþula, Heimdall is said to be the father of all classes of men. Greater and lesser here referring to higher and lower classes.
Valfather: Alternative name for the god Odin, meaning father of the slain or fallen.
Commentary: The poem begins with the seeress asking for silence, and that people listen to her words. What is often forgotten, since the poem is mostly studied in writing these days, is that the poem was created to be performed. In that context, the first lines could be directed toward the audience, rather than being a part of the main plot. Because she then turns her words to Odin (here called Valfather).
2
I remember giants,
born early on,
those who in times past
raised me;
I remember nine worlds,
nine giantesses,
the glorious tree
beneath the earth.
2
Ek man jötna
ár um borna,
þá er forðum
mik fædda höfðu;
níu man ek heima,
níu íviðjur,
mjötvið mæran
fyr mold neðan.
The glorious tree beneath the earth: The völva remembers the ash of Yggdrasill when it was but a seed in the ground.
3
In the beginning of time,
when Ymir lived,
there was no sand nor sea,
nor cool waves;
earth was not to be found,
nor heaven above,
a yawning gap was there,
but grass nowhere.
3
Ár var alda,
þar er Ymir byggði,
vara sandr né sær
né svalar unnir;
jörð fannsk æva
né upphiminn,
gap var ginnunga
en gras hvergi.
Ymir: Forefather of the race of Jotnar, commonly referred to as giants.
4
Before Bur’s sons
raised the lands,
those who shaped
the mighty Midgard;
the sun shone from the south
on the stone halls,
then the ground was grown over
with green vegetation.
4
Áðr Burs synir
bjöðum um ypptu,
þeir er Miðgarð
mæran skópu;
sól skein sunnan
á salar steina,
þá var grund gróin
grænum lauki.
Bur’s sons: The three brothers Odin, Vili, and Ve. According to the Prose Edda, they killed Ymir and fashioned the world (Midgard) out of his remains.
Midgard: Home of men.
5
The sun, from the south,
companion of the moon,
cast her right hand
over the edge of the sky;
the sun did not know,
where her hall would be,
the stars did not know,
where their places were,
the moon did not know,
what power he had.
5
Sól varp sunnan,
sinni mána,
hendi inni hægri
um himinjöður;
sól þat né vissi,
hvar hon sali átti,
stjörnur þat né vissu
hvar þær staði áttu,
máni þat né vissi,
hvat hann megins átti,
6
Then all the gods
went to their thrones,
holy gods,
and held council;
they gave names to night
and to the moon’s children,
morning they named,
and midday,
afternoon and evening,
to measure out the years.
6
Þá gengu regin öll
á rökstóla,
ginnheilög goð,
ok um þat gættusk;
nótt ok niðjum
nöfn of gáfu,
morgin hétu
ok miðjan dag,
undorn ok aftan,
árum at telja.
7
The Aesir met
on Ithavoll;
they built high temples
and altars;
they made forges,
they fashioned wealth,
they made tongs
and shaped tools.
7
Hittusk æsir
á Iðavelli,
þeir er hörg ok hof
hátimbruðu;
afla lögðu,
auð smíðuðu,
tangir skópu
ok tól gerðu.
The Aesir: A certain tribe of gods, of which Odin is the chief.
Ithavoll: A green field, or a plain.
8
They played games in the meadow,
and were merry,
there was no lack
of gold with them,
until three came,
giant maidens,
vastly powerful,
from Jotunheim.
8
Tefldu í túni,
teitir váru,
var þeim vettergis
vant ór gulli,
uns þrjár kvámu
þursa meyjar
ámáttkar mjök
ór Jötunheimum.
9
Then all the gods
went to their thrones,
holy gods,
and held council,
who should shape
the lord of dwarfs
from Brimir’s blood
and Blain’s limbs.
9
Þá gengu regin öll
á rökstóla,
ginnheilög goð,
ok um þat gættusk,
hverir skyldi dverga
dróttir skepja
ór Brimis blóði
ok ór Bláins leggjum.
thrones: Rökstólar can also be interpreted as “Judging seats”, a seat each god seems to have at their council.
lord of dwarfs: This could refer to Motsognir, as he is said to be the most powerful in stanza 10.
Brimir’s blood: This may refer to the giant Ymir, his blood became the sea.
Blain’s limbs: According to Gylfaginning, Ymir’s legs were used for creation, and this could refer to the color of the giant’s corpse, Blain means Blue. It is also said that dwarfs formed like worms in Ymir’s flesh.
10
There was Motsognir,
most powerful,
of all the dwarfs,
and Durin second;
they made many figures
in human likeness,
the dwarfs in the earth,
as Durin had said.
10
Þar var Móðsognir
mæztr of orðinn
dverga allra,
en Durinn annarr;
þeir mannlíkun
mörg of gjörðu
dvergar í jörðu,
sem Durinn sagði.
11
Nyi, Nithi,
Northri, Suthri,
Austri, Vestri,
Althjof, Dvalin,
Nar and Nain,
Niping, Dainn,
Bivur, Bafur,
Bombur, Nori,
An and Anar,
Oinn, Mjothvitnir.
11
Nýi, Niði,
Norðri, Suðri,
Austri, Vestri,
Alþjófr, Dvalinn,
Nár ok Náinn
Nípingr, Dáinn
Bívurr, Bávurr,
Bömburr, Nóri,
Ánn ok Ánarr,
Óinn, Mjöðvitnir.
Nyi, Nithi: These dwarfs are mentioned in connection with the working of the moon. (Vafþrúðnismál, stanza 25)
Northri, Suthri, Austri and Vestri: After the sky was created from Ymir’s skull, these four dwarfs were tasked to hold the sky, each in their separate corner of the world. (Gylfaginning chapter 8)
12
Veg and Gandalf,
Vindalf, Thorin,
Thrar and Thrain,
Thekk, Lit and Vit,
Nyr and Nyrath;
now I have counted
Reginn and Rathsvith
rightly among the dwarfs.
12
Veggr ok Gandalfr,
Vindalfr, Þorinn,
Þrár ok Þráinn,
Þekkr, Litr ok Vitr,
Nýr ok Nýráðr,
nú hefi ek dverga,
Reginn ok Ráðsviðr,
rétt um talða.
13
Fili, Kili,
Fundin, Nali,
Hefti, Vili,
Hannar, Sviur,
Billing, Bruni,
Bild and Buri,
Frar, Hornbori,
Fraeg and Loni,
Aurvang, Jari,
Eikinskjaldi.
13
Fíli, Kíli,
Fundinn, Náli,
Hefti, Víli,
Hannar, Svíurr,
Billingr, Brúni,
Bíldr ok Buri,
Frár, Hornbori,
Frægr ok Lóni,
Aurvangr, Jari,
Eikinskjaldi.
14
The tally of dwarfs
of Dvalin’s line
as men recount,
are descended from Lofar,
those who sought out
from the stone halls,
home of Aurvang
to Joruvoll.
14
Mál er dverga
í Dvalins liði
ljóna kindum
til Lofars telja,
þeir er sóttu
frá salar steini
Aurvanga sjöt
til Jöruvalla.
15
There was Draupnir
and Dolgþrasir,
Har, Haugspori,
Hlevang, Gloinn,
Dori, Ori,
Duf, Andvari,
Skirfir, Virfir,
Skafith, Ai.
15
Þar var Draupnir
ok Dolgþrasir,
Hár, Haugspori,
Hlévangr, Glóinn,
Dóri, Óri
Dúfr, Andvari
Skirfir, Virfir,
Skáfiðr, Ái.
Draupnir: The name commonly refers to a magic ring that drips eight new gold rings every ninth night, but here it is a dwarf who is only mentioned here.
16
Alfr and Yngvi,
Eikinskjaldi,
Fjalar and Frosti,
Finnr and Ginnar;
this will always be
as long as the world endures,
the lineage long-known
of Lofar’s clan.
16
Alfr ok Yngvi,
Eikinskjaldi,
Fjalarr ok Frosti,
Finnr ok Ginnarr;
þat mun æ uppi
meðan öld lifir,
langniðja tal
Lofars hafat.
17
Until three came
from the company,
mighty and passionate,
the Aesir went;
and found on the land,
with little strength,
Ash and Embla,
without fate.
17
Unz þrír kvámu
ór því liði
öflgir ok ástkir
æsir at húsi,
fundu á landi
lítt megandi
Ask ok Emblu
örlöglausa.
Ash and Embla: Bur’s sons (Odin, Vili, and Ve) found two trees Ash and Embla, and from them, the race of men originated (According to the 9th chapter of Gylfaginning.)
18
They had no breath,
no spirit,
no warmth, no voice,
nor good looks;
breath gave Odin,
spirit gave Haenir,
warmth gave Lodur,
and good looks.
18
Önd þau né áttu,
óð þau né höfðu,
lá né læti
né litu góða;
önd gaf Óðinn,
óð gaf Hænir,
lá gaf Lóðurr
ok litu góða.
19
I know an ash tree,
it stands, Yggdrasill,
a tall tree, watered
with white clay;
from it come the dews
that fall in the dales,
it stands evergreen
over Urd’s well.
19
Ask veit ek standa,
heitir Yggdrasill,
hár baðmr, ausinn
hvíta auri;
þaðan koma döggvar,
þærs í dala falla,
stendr æ yfir grænn
Urðarbrunni.
Ash of Yggdrasill: World tree that connects the realms.
Yggdrasill: A compound word of Yggr, according to Grímnismál, is an alternative name for Odin – and drasill, which means a horse. Odin’s horse is called Sleipnir, although it is unclear how “Odin’s horse” has become a synonym for the world tree.
20
From there come the maidens
knowing many things,
three from the lake
that stands under the tree;
one is called Urd,
the second Verdandi,
Skuld is the third;
they carved the fates,
they set the laws,
they chose the lifespan,
for the children of men
and their destiny.
20
Þaðan koma meyjar
margs vitandi
þrjár ór þeim sæ,
er und þolli stendr;
Urð hétu eina,
aðra Verðandi,
skáru á skíði,
Skuld ina þriðju;
þær lög lögðu,
þær líf kuru
alda börnum,
örlög seggja.
Urd, Verdandi, and Skuld: The maidens’ names are commonly understood as Past, present, and future. They are witches, or so-called norns in Old Norse (according to 15th chapter of Gylfaginning.)
21
She remembers the first
war in the world,
when Gullveig
was speared
and in the hall of Har
she was burned;
thrice burned,
thrice reborn,
often, not seldom,
yet she still lives.
23
Þat man hon folkvíg
fyrst í heimi,
er Gullveigu
geirum studdu
ok í höll Hárs
hana brenndu,
þrisvar brenndu,
þrisvar borna,
oft, ósjaldan,
þó hon enn lifir.
Gullveig: Name meaning, the power of Gold. She can be viewed as a personification of gold if it were to take physical form.
Introduction of Gullveig: The greed for gold cannot be quenched, greed has set into the world, and the gods try to kill it without success.
Har: Alternative name for Odin.
22
Heith they called her,
wherever she came to houses,
a seeress who correctly prophesized,
she worked her magic staff;
she practiced witchcraft,
wherever she could,
casting spells on minds,
she was always
a delight to evil women.
22
Heiði hana hétu
hvars til húsa kom,
völu velspáa,
vitti hon ganda;
seið hon, hvars hon kunni,
seið hon hug leikinn,
æ var hon angan
illrar brúðar.
Heith (Old Norse: Heiðr): Her name when in the realm of men. The name may refer to the shine of gold, or that she comes down from the heathlands, the mountains.
23
Then all the gods
went to their thrones,
the mighty and sacred gods,
and held a council on this:
whether the Aesir should pay a tribute
or whether all the gods
should share the sacrifice.
23
Þá gengu regin öll
á rökstóla,
ginnheilög goð,
ok um þat gættusk,
hvárt skyldu æsir
afráð gjalda
eða skyldu goðin öll
gildi eiga.
24
Odin hurled his spear,
and shot it into the fray,
that was the first
war in the world;
the wall around the Aesir’s
fortress was broken,
the Vanir, war-chanting,
tread the field.
24
Fleygði Óðinn
ok í folk of skaut,
þat var enn folkvíg
fyrst í heimi;
brotinn var borðveggr
borgar ása,
knáttu vanir vígspá
völlu sporna.
The Vanir: A tribe of gods that includes the gods Freyr and Freya, among others.
25
Then all the gods
went to their thrones,
holy gods,
and held council;
who had mixed the air
with treachery
or given Odin’s lady
to the giant race.
25
Þá gengu regin öll
á rökstóla,
ginnheilög goð,
ok um þat gættusk,
hverjir hefði loft allt
lævi blandit
eða ætt jötuns
Óðs mey gefna.
Odin’s lady: Refers to Freyja and the story of the builder. (see chapter 42 of Gyfaginning where the story is told.)
26
Thor alone struck,
swollen with rage,
he seldom sits still
when he hears such news;
oaths were broken,
words and promises,
all solemn pledges,
that had passed between them.
26
Þórr einn þar vá
þrunginn móði,
– hann sjaldan sitr,
er hann slíkt of fregn -:
á gengusk eiðar,
orð ok særi,
mál öll meginlig,
er á meðal fóru.
27
She knows that Heimdall’s
hearing is hidden
beneath the bright
holy tree,
she sees a stream flow
with muddy waterfall
from Valfather‘s pledge.
Do you want to know more, or what?
27
Veit hon Heimdallar
hljóð of folgit
und heiðvönum
helgum baðmi,
á sér hon ausask
aurgum forsi
af veði Valföðrs.
Vituð ér enn – eða hvat?
Heimdall’s hearing: It has been theorized that Heimdall, one of the Aesir gods, similarly sacrificed his hearing as Odin did with one of his eyes.
Valfather’s pledge: Odin sacrificed one of his eyes in exchange for wisdom.
28
Alone she sat outside,
when the aged one came,
the fearsome Aesir,
and looked into her eyes.
“What do you ask of me?
Why do you test me?
I know everything, Odin,
where you hid your eye,
in the famous
well of Mimir.
Mimir drinks mead
each morning
from Valfather’s pledge.
Do you want to know more, or what?“
28
Ein sat hon úti,
þá er inn aldni kom
yggjungr ása
ok í augu leit.
Hvers fregnið mik?
Hví freistið mín?
Allt veit ek, Óðinn,
hvar þú auga falt,
í inum mæra
Mímisbrunni.
Drekkr mjöð Mímir
morgun hverjan
af veði Valföðrs.
Vituð ér enn – eða hvat?
29
Herfathir offered her
rings and necklaces,
he got wisdom and prophecy,
and spells of magic;
she saw far and wide
throughout the world.
29
Valði henni Herföðr
hringa ok men,
fekk spjöll spaklig
ok spá ganda,
sá hon vítt ok of vítt
of veröld hverja.
Herfathir (Old Norse: Herfaðir): Army-father, alternative name of Odin
30
She saw valkyries
coming from afar,
ready to ride
to the land of the gods;
Skuld held a shield,
and Skogul another,
Gunn, Hild, Gondul,
and Geirskogul.
Now are listed
Herjan’s maidens,
ready to ride,
the valkyries over the earth.
30
Sá hon valkyrjur
vítt of komnar,
görvar at ríða
til Goðþjóðar;
Skuld helt skildi,
en Skögul önnur,
Gunnr, Hildr, Göndul
ok Geirskögul.
Nú eru talðar
nönnur Herjans,
görvar at ríða
grund valkyrjur.
Skuld: One of the three Norns (the other two being Urth and Verthandi) who decide the fate of men is here counted as one of the Valkyries.
31
I saw for Baldr,
the bleeding god,
Odin’s son,
his fate sealed;
stood there, all too grown,
on the plains,
a high, slender and very fair,
the mistletoe.
31
Ek sá Baldri,
blóðgum tívur,
Óðins barni,
örlög folgin;
stóð of vaxinn
völlum hæri
mjór ok mjök fagr
mistilteinn.
32
From that stem,
which seemed so slender,
came a fatal arrow,
shot by Hoth;
Baldr’s brother
was soon born,
Odin’s son began
to strike at one night old.
32
Varð af þeim meiði,
er mær sýndisk,
harmflaug hættlig,
Höðr nam skjóta;
Baldrs bróðir var
of borinn snemma,
sá nam Óðins sonr
einnættr vega.
33
He did not wash his hands
nor comb his hair,
until he bore to the pyre
his foe, Baldr’s killer;
but Frigg wept
in Fensalir,
for Valhalla’s woe.
Do you want to know more, or what?
33
Þó hann æva hendr
né höfuð kembði,
áðr á bál of bar
Baldrs andskota;
en Frigg of grét
í Fensölum
vá Valhallar.
Vituð ér enn – eða hvat?
Baldr’s killer: The god Hoth (Old Norse, Höðr)
Fensalir: Frigg’s hall, Odin’s wife.
Commentary: This stanza shares material with another Eddic poem named Baldrs Draumar (a.k.a. Vegtamskviða). This has led to the idea that Baldrs Draumar may be older than Völuspá and that its composer drew inspiration from that poem when creating Völuspá. Both poems share a plot theme: Odin seeks a völva to extract wisdom from her about the fate of his son, Baldr. However, Völuspá’s scale is grander, and Baldr’s death is no longer the main plot of the story.
34
Then Vali bound
the bowstring tight,
strong were the bonds
made from guts.
34
Þá kná Váli
vígbönd snúa,
heldr váru harðgör
höft ór þörmum.
35
She saw a prisoner lying
in Hveralund,
the cunning one,
in Loki’s shape;
there sits Sigyn,
and she is not
glad beside her man.
Do you want to know more, or what?
35
Haft sá hon liggja
und Hveralundi,
lægjarns líki
Loka áþekkjan;
þar sitr Sigyn
þeygi of sínum
ver vel glýjuð.
Vituð ér enn – eða hvat?
36
A river falls from the east
through the poisoned dales,
filled with knives and swords,
that river is called Slith.
36
Á fellur austan
um eitrdala
söxum ok sverðum,
Slíðr heitir sú.
37
There stood a hall to the north
on Nithavellir,
a hall of gold
for Sindri’s kin;
and another stood
on Okolnir,
a giant’s beer hall,
and it is called Brimir.
37
Stóð fyr norðan
á Niðavöllum
salr ór gulli
Sindra ættar;
en annarr stóð
á Ókólni
bjórsalr jötuns,
en sá Brimir heitir.
Nithavellir: Pitch-black plains
Okolnir: the hall of the giant that is always warm, hence the name which means Never-cool.
Sindri’s kin: The race of dwarfs.
38
She saw a hall standing
far from the sun
on Nastrond;
its doors faced north,
venom dripped
through the roof,
the hall was woven
from serpents’ spines.
38
Sal sá hon standa
sólu fjarri
Náströndu á,
norðr horfa dyrr;
falla eitrdropar
inn um ljóra,
sá er undinn salr
orma hryggjum.
Nastrond: Beach of the dead.
39
She saw there wading
through heavy streams,
perjurers and murderers,
and those who seduce
others’ lovers;
there Nithhogg sucked
the corpses of the dead,
the wolf tore men apart.
Do you want to know more, or what?
39
Sá hon þar vaða
þunga strauma
menn meinsvara
ok morðvarga
ok þann er annars glepr
eyrarúnu;
þar saug Niðhöggr
nái framgengna,
sleit vargr vera.
Vituð ér enn – eða hvat?
Nithhogg: The dragon from Nithafjoll, see also stanza 66.
40
Eastward sat the old one
in Jarnvith,
and there she bore
Fenrir’s offspring;
from all of them
comes one in particular
a destroyer of the moon
in a troll’s shape.
40
Austr sat in aldna
í Járnviði
ok fæddi þar
Fenris kindir;
verðr af þeim öllum
einna nokkurr
tungls tjúgari
í trölls hami.
Jarnvid: Iron-wood, a forest.
41
It fills itself with
the life-blood of doomed men,
the gods’ homes will be stained
with red blood;
the sun will shine black
in the summers that follow,
all weather will be dangerous.
Do you want to know more, or what?
41
Fyllisk fjörvi
feigra manna,
rýðr ragna sjöt
rauðum dreyra;
svört verða sólskin
um sumur eftir,
veðr öll válynd.
Vituð ér enn – eða hvat?
42
There sat on a mound
and struck his harp
the joyful herdsman
of the giantess, Eggther;
above him crowed
in the Gaglvith
a bright red rooster,
which is named Fjalarr.
42
Sat þar á haugi
ok sló hörpu
gýgjar hirðir,
glaðr Eggþér;
gól of hánum
í galgviði
fagrrauðr hani,
sá er Fjalarr heitir.
43
At the Aesir crowed
Gullinkambi,
who awakens the host
for the Herjafathir;
but another rooster crows
beneath the earth,
a soot-red rooster
in the halls of Hel.
43
Gól of ásum
Gullinkambi,
sá vekr hölða
at Herjaföðrs;
en annarr gelr
fyr jörð neðan
sótrauðr hani
at sölum Heljar.
Gullinkambi: the rooster Golden-comb.
awakens the host (vekr hölða): Odin’s warriors, the Einherjar.
44
Now Garm howls loudly
before Gnipahelli,
the fetter will break,
and Freki will run;
much I know of lore,
and further forward I see
to the fate of the gods,
the mighty victory-gods.
44
Geyr nú Garmr mjök
fyr Gnipahelli,
festr mun slitna,
en freki renna;
fjölð veit ek fræða,
fram sé ek lengra
um ragna rök
römm sigtíva.
45
Brothers will fight
and kill each other,
and sisters’ children
will spoil their kinship;
it is a time of hardships in the world,
adultery is rampant,
an age of axes, an age of swords,
shields are cloven,
a wind-age, a wolf-age,
before the world descends;
no man will spare another.
45
Bræðr munu berjask
ok at bönum verðask,
munu systrungar
sifjum spilla;
hart er í heimi,
hórdómr mikill,
skeggöld, skalmöld,
skildir ro klofnir,
vindöld, vargöld,
áðr veröld steypisk;
mun engi maðr
öðrum þyrma.
46
Mim’s sons play,
but fate is kindled
at the sounding
of the Gjallarhorn;
loud blows Heimdall,
the horn is aloft,
Odin speaks
with Mim’s head.
46
Leika Míms synir,
en mjötuðr kyndisk
at inu galla
Gjallarhorni;
hátt blæss Heimdallr,
horn er á lofti,
mælir Óðinn
við Míms höfuð.
Mim’s sons: The sons of Mimir are unknown. However, this could be interpreted as “the kin of jotnar run rampant.”
47
Yggdrasil shakes,
the standing ash,
the ancient tree groans,
and the giant breaks free;
all tremble
on the way to Hel,
until Surt’s kin
swallows it.
47
Skelfr Yggdrasils
askr standandi,
ymr it aldna tré,
en jötunn losnar;
hræðask allir
á helvegum
áðr Surtar þann
sefi of gleypir.
48
What is with the Aesir?
What is with the elves?
All of Jotunheim roars,
the Aesir are in council,
the dwarfs groan
before their stone doors,
wise in the mountain wall.
Do you want to know more, or what?
48
Hvat er með ásum?
Hvat er með alfum?
Gnýr allr Jötunheimr,
æsir ro á þingi,
stynja dvergar
fyr steindurum,
veggbergs vísir.
Vituð ér enn – eða hvat?
49
Now Garm howls loudly
before Gnipahelli,
the fetter will break,
and Freki will run;
much I know of lore,
and further forward I see
to the fate of the gods,
the mighty victory-gods.
49
Geyr nú Garmr mjök
fyr Gnipahelli,
festr mun slitna
en freki renna;
fjölð veit ek fræða,
fram sé ek lengra
um ragna rök
römm sigtíva.
50
Hrym drives from the east,
holds his shield before him,
Jormungand twists
in giant wrath;
the serpent strikes the waves,
and the eagle screams,
tearing corpses pale with age,
and Naglfar is loosed.
50
Hrymr ekr austan,
hefisk lind fyrir,
snýsk Jörmungandr
í jötunmóði;
ormr knýr unnir,
en ari hlakkar,
slítr nái niðfölr,
Naglfar losnar.
Naglfar: According to the Gylfaninning section of the Prose Edda, Naglfar is a ship made of the fingernails of the dead.
51
A ship comes from the east,
Muspell’s people will sail over the sea,
and Loki steers;
all the monstrous offspring
come with Freki,
and with them, Byleist’s
brother is on the journey.
51
Kjóll ferr austan,
koma munu Múspells
of lög lýðir,
en Loki stýrir;
fara fíflmegir
með freka allir,
þeim er bróðir
Býleists í för.
52
Surt comes from the south
with firey destruction,
the sun shines
from the sword of the gods;
mountains crash,
and trolls fall,
men tread the path to Hel,
and the sky splits open.
52
Surtr ferr sunnan
með sviga lævi,
skínn af sverði
sól valtíva;
grjótbjörg gnata,
en gífr rata,
troða halir helveg,
en himinn klofnar.
53
Then comes the second
sorrow of Hlin,
when Odin goes
to fight the wolf,
and Beli’s slayer
shines against Surt;
then will Frigg’s
beloved fall.
53
Þá kemr Hlínar
harmr annarr fram,
er Óðinn ferr
við ulf vega,
en bani Belja
bjartr at Surti;
þá mun Friggjar
falla angan.
Hlin: Alternative name of Frigg. Her first sorrow was the death of her son, Baldr, and the second will be the loss of her husband, Odin.
54
Now Garm howls loudly
before Gnipahelli,
the fetter will break,
and Freki will run;
much I know of lore,
and further forward I see
to the fate of the gods,
the mighty victory-gods.
54
Geyr nú Garmr mjök
fyr Gnipahelli,
festr mun slitna,
en freki renna;
fjölð veit ek fræða,
fram sé ek lengra
um ragna rök
römm sigtíva.
55
Then comes the mighty
son of Sigfathir,
Vithar, to fight
the deadly beast;
he lets the sword pierce
the heart of Hvethrung‘s offspring,
and thus avenges his father.
55
Þá kemr inn mikli
mögr Sigföður,
Víðarr, vega
at valdýri.
Lætr hann megi Hveðrungs
mundum standa
hjör til hjarta,
þá er hefnt föður.
56
Then comes the famous
son of Hlothyn,
Odin’s son goes
to fight the serpent;
bravely killing it,
the guardian of Midgard;
all people will leave
their homes behind;
nine steps he takes,
Fjorgyn’s son,
Exhausted, after fighting the snake,
he has no fear of shame.
56
Þá kemr inn mæri
mögr Hlóðynjar,
gengr Óðins sonr
við orm vega,
drepr af móði
Miðgarðs véurr,
munu halir allir
heimstöð ryðja;
gengr fet níu
Fjörgynjar burr
neppr frá naðri
níðs ókvíðnum.
57
The sun turns black,
the earth sinks into the sea,
the bright stars vanish
from the sky;
firey smoke rages
in the nourisher of life,
high heat rises
against the very sky.
57
Sól tér sortna,
sígr fold í mar,
hverfa af himni
heiðar stjörnur;
geisar eimi
ok aldrnari,
leikr hár hiti
við himin sjalfan.
58
Now Garm howls loudly
before Gnipahelli,
the fetter will break,
and Freki will run;
much I know of lore,
and further forward I see
to the fate of the gods,
the mighty victory-gods.
58
Geyr nú Garmr mjök
fyr Gnipahelli,
festr mun slitna
en freki renna;
fjölð veit ek fræða
fram sé ek lengra
um ragna rök
römm sigtíva.
59
She sees the earth rise
a second time
from the sea,
green and growing;
waterfalls tumble,
an eagle soars above,
which catches fish
on the mountain slopes.
59
Sér hon upp koma
öðru sinni
jörð ór ægi
iðjagræna;
falla forsar,
flýgr örn yfir,
sá er á fjalli
fiska veiðir.
60
The Aesir will find each other
on Ithavoll,
and discuss the powerful
string of the earth,
and remember there
the mighty judgments
and the ancient runes
of Fimbultyr.
60
Finnask æsir
á Iðavelli
ok um moldþinur
máttkan dæma
ok minnask þar
á megindóma
ok á Fimbultýs
fornar rúnir.
61
There will be found
wondrous golden
playing-pieces in the grass,
those which they had owned
in the ancient days.
61
Þar munu eftir
undrsamligar
gullnar töflur
í grasi finnask,
þærs í árdaga
áttar höfðu.
62
Unsown fields
will grow,
all ills will be healed,
Baldr will return;
Hoth and Baldr will dwell
in Hropt’s victory-halls,
in the sacred homes of the gods.
Do you want to know more, or what?
62
Munu ósánir
akrar vaxa,
böls mun alls batna,
Baldr mun koma;
búa þeir Höðr ok Baldr
Hrofts sigtoftir,
vé valtíva.
Vituð ér enn – eða hvat?
63
Then Haenir the resilient
Will choose wood for rituals,
and the sons of two brothers
will build their homes
in the wide wind-home.
Do you want to know more, or what?
63
Þá kná Hænir
hlautvið kjósa
ok burir byggja
bræðra tveggja
vindheim víðan.
Vituð ér enn – eða hvat?
Haenir: One of the Aesir gods. According to the 23rd chapter of Gylfaginning (Prose-Edda), when the war between Aesir and the Vanir ended, they exchanged clan members to ensure lasting peace. Haenir was one of the Aesir who was sent to the Vanir side in exchange for Njorth (Njörðr).
64
She sees a hall standing,
fairer than the sun,
thatched with gold
on Gimle;
there will dwell
the worthy hosts,
and in eternal bliss,
they will enjoy delight.
64
Sal sér hon standa
sólu fegra,
gulli þakðan
á Gimléi;
þar skulu dyggvar
dróttir byggja
ok um aldrdaga
ynðis njóta.
65
Then comes the mighty one,
down to the great judgment,
the powerful one,
who rules over all.
65
Þá kemr inn ríki
at regindómi
öflugr ofan,
sá er öllu ræðr.
66
There comes the dark
dragon flying,
the shimmering serpent, down
from Nithafjoll;
Nithhogg carries corpses in his feathers,
As he flies over the plain,
Now she will sink down.
66
Þar kemr inn dimmi
dreki fljúgandi,
naðr fránn, neðan
frá Niðafjöllum;
berr sér í fjöðrum,
– flýgr völl yfir, –
Niðhöggr nái.
Nú mun hon sökkvask.
Nithafjoll: The Dark Mountains
Feathers: It’s worth highlighting how the poem paints an image of Nithhogg as a feathered dragon. To modern readers that may sound unusual, who would probably imagine dragons with leathery wings and scales.
Now she (the völva) will sink down: Odin may have resurrected the völva (seeress) from the dead, only to extract her knowledge and prophecy, before letting her slump down and return to her eternal sleep. This theory is based on the fact that Völuspá and the poem Baldrs Draumar share material and plot themes, as discussed in stanza 33.
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