Norse Goddess of love, beauty, magic (seidhr), fertility, war and death.
Freya (Old Norse Freyja, “Lady”) is one of the preeminent goddesses in Norse mythology. She’s a member of the Vanir tribe of deities, but became an honorary member of the Aesir gods after the Aesir-Vanir War. Her father is Njord. Her mother is unknown, but could be Nerthus. Freyr is her brother. Her husband, named Odr in late Old Norse literature, is certainly none other than Odin, and, accordingly, Freya is ultimately identical with Odin’s wife Frigg (see below for a discussion of this).
Freya is famous for her fondness of love, fertility, beauty, and fine material possessions – and, because of these predilections, she’s considered to be something of the “party girl” of the Aesir. In one of the Eddic poems, for example, Loki accuses Freya (probably accurately) of having slept with all of the gods and elves, including her brother. She’s certainly a passionate seeker after pleasures and thrills, but she’s a lot more than only that. Freya is the archetype of the völva, a professional or semiprofessional practitioner of seidr, the most organized form of Norse magic. It was she who first brought this art to the gods, and, by extension, to humans as well. Given her expertise in controlling and manipulating the desires, health, and prosperity of others, she’s a being whose knowledge and power are almost without equal.
Freya presides over the afterlife realm Folkvang. According to one Old Norse poem, she chooses half of the warriors slain in battle to dwell there. (See Death and the Afterlife.)
Freya the Völva
Seidr is a form of pre-Christian Norse magic and shamanism that involved discerning the course of fate and working within its structure to bring about change, often by symbolically weaving new events into being. This power could potentially be put to any use imaginable, and examples that cover virtually the entire range of the human condition can be found in Old Norse literature.
In the Viking Age, the völva was an itinerant seeress and sorceress who traveled from town to town performing commissioned acts of seidr in exchange for lodging, food, and often other forms of compensation as well. Like other northern Eurasian shamans, her social status was highly ambiguous – she was by turns exalted, feared, longed for, propitiated, celebrated, and scorned.
Freya’s occupying this role amongst the gods is stated directly in the Ynglinga Saga, and indirect hints are dropped elsewhere in the Eddas and sagas. For example, in one tale, we’re informed that Freya possesses falcon plumes that allow their bearer to shift his or her shape into that of a falcon.
During the so-called Völkerwanderung or “Migration Period” – roughly 400-800 CE, and thus the period that immediately preceded the Viking Age – the figure who would later become the völva held a much more institutionally necessary and universally acclaimed role among the Germanic tribes. One of the core societal institutions of the period was the warband, a tightly organized military society presided over by a chieftain and his wife. The wife of the warband’s leader, according to the Roman historian Tacitus, held the title of veleda, and her role in the warband was to foretell the outcome of a suggested plan of action by means of divination and to influence that outcome by means of more active magic, as well as to serve a special cup of liquor that was a powerful symbol of both temporal and spiritual power in the warband’s periodic ritual feasts.
One literary portrait of such a woman comes to us from the medieval Old English epic poem Beowulf, which recounts the deeds of King Hroðgar and his warband in the land that we today know as Denmark. The name of Hroðgar’s queen, Wealhþeow, is almost certainly the Old English equivalent of the Proto-Germanic title that Tacitus latinised as “veleda.” Wealhþeow’s “domestic” actions in the poem – which are, properly understood, enactments of the liquor ritual described above – are indispensable for the upkeep of the unity of the warband and its power structures. The poem, despite its Christian veneer, “hint[s] at the queen’s oracular powers… The Hrothgar/Wealhtheow association as presented in the poem is an echo of an earlier more robust and vigorous politico-theological conception.”
This “politico-theological conception” was based on the mythological model provided by the divine pair Frija and Woðanaz, deities who later evolved into, respectively, Freya/Frigg and Odin. Woðanaz is the warband’s chieftain, and Frija is its veleda. In addition to the structural congruencies outlined above, Wealhþeow and Freya even own a piece of jewelry with the same name: Old English Brosinga mene and Old Norse Brísingamen (both meaning something like “fiery/glowing necklace”). That both figures refer to the same ancient archetype, whether on the human or the divine plane, is certain.
Freya and Frigg
While the late Old Norse literary sources that form the basis of our current knowledge of pre-Christian Germanic religion present Freya and Frigg as being at least nominally distinct goddesses, the similarities between them run deep. Their differences, however, are superficial and can be satisfactorily explained by consulting the history and evolution of the common Germanic goddess whom the Norse were in the process of splitting into Freya and Frigg sometime shortly before the conversion of Scandinavia and Iceland to Christianity (around the year 1000 CE).
As we’ve noted above, the Migration Period goddess who later became Freya was the wife of the god who later became Odin. While somewhat veiled, this is ultimately still the case in Old Norse literature. Freya’s husband is named Óðr, a name which is virtually identical to that of Óðinn (the Old Norse form of “Odin”). Óðr means “ecstasy, inspiration, furor.” Óðinn is simply the word óðr with the masculine definite article (-inn) added onto the end. The two names come from the same word and have the same meaning. Óðr is an obscure and seldom-mentioned character in Old Norse literature. The one passage that tells us anything about his personality or deeds – anything beyond merely listing his name in connection with Freya – comes from the Prose Edda, which states that Óðr is often away on long journeys, and that Freya can often be found weeping tears of red gold over his absence. Many of the surviving tales involving Odin have him traveling far and wide throughout the Nine Worlds, to the point that he’s probably more often away from Asgard than within it. Many of Odin’s numerous bynames allude to his wanderings or are names he assumed to disguise his identity while abroad. Thus, it’s hard to see Freya’s husband as anything but an only nominally distinct extension of Odin.
Freyja and Frigg are similarly accused of infidelity to their (apparently common) husband. Alongside the several mentions of Freya’s loose sexual practices can be placed the words of the medieval Danish historian Saxo Grammaticus, who relates that Frigg slept with a slave on at least one occasion. In Lokasenna and the Ynglinga Saga, Odin was once exiled from Asgard, leaving his brothers Vili and Ve in command. In addition to presiding over the realm, they also regularly slept with Frigg until Odin’s return. Many scholars have tried to differentiate between Freya and Frigg by asserting that the former is more promiscuous and less steadfast than the latter, but these tales suggest otherwise.
Frigg is depicted as a völva herself. Once again in Lokasenna, after Loki slanders Frigg for her infidelity, Freya warns him that Frigg knows the fate of all beings, an intimation of her ability to perform seidr. Frigg’s weaving activities are likely an allusion to this role as well. And, as it turns out, Freya is not the only goddess to own a set of bird-of-prey feathers for shapeshifting – Frigg is also in possession of one.
The word for “Friday” in Germanic languages (including English) is named after Frija, the Proto-Germanic goddess who is the foremother of Freya and Frigg. None of the other Germanic peoples seem to have spoken of Frija as if she were two goddesses; this approach is unique to the Norse sources. It should come as no surprise, therefore, that in the Norse sources we find a confusion as to which goddess this day should have as its namesake. Both Freyjudagr (from Freyja) and Frjádagr (from Frigg) are used.
The names of the two goddesses are also particularly interesting in this regard. Freyja, “Lady,” is a title rather than a true name. It’s a cognate of the modern German word Frau, which is used in much the same way as the English title “Mrs.” In the Viking Age, Scandinavian and Icelandic aristocratic women were sometimes called freyjur, the plural of freyja. “Frigg,” meanwhile, comes from an ancient root that means “beloved.” Frigg’s name therefore links her to love and desire, precisely the areas of life over which Freya presides. Here again we can discern the ultimate reducibility of both goddesses to one another: one’s name is identical to the other’s attributes, and the other name is a generic title rather than a unique name.
Clearly, then, the two are ultimately the same goddess. Why, then, are they presented as nominally distinct in the late Old Norse sources? Unfortunately, no one really knows.
Looking for more great information on Norse mythology and religion? While this site provides the ultimate online introduction to the topic, my book The Viking Spirit provides the ultimate introduction to Norse mythology and religion period. I’ve also written a popular list of The 10 Best Norse Mythology Books, which you’ll probably find helpful in your pursuit.
Originally Published on Norse Mythology for Smart People
 The Poetic Edda. Lokasenna, stanzas 30, 32.
 Snorri Sturluson. Ynglinga Saga 4. In Heimskringla: eða Sögur Noregs Konunga.
 Heide, Eldar. 2006. Spinning Seiðr. In Old Norse Religion in Long-Term Perspectives: Origins, Changes and Interactions. Edited by Anders Andrén, Kristina Jennbert, and Catharina Raudvere. p. 166.
 Price, Neil S. 2002. The Viking Way: Religion and War in Late Iron Age Scandinavia. p. 279-328.
 Snorri Sturluson. Ynglinga Saga 4. In Heimskringla: eða Sögur Noregs Konunga.
 Ellis-Davidson, Hilda Roderick. 1964. Gods and Myths of Northern Europe. p. 117.
 Tacitus, Cornelius. Germania 8.
 Enright, Michael J. 1996. Lady with a Mead Cup: Ritual, Prophecy and Lordship in the European Warband from La Tène to the Viking Age.
 Ibid. p. 192.
 Ibid. p. 66.
 Snorri Sturluson. The Prose Edda. Gylfaginning 35.
 Saxo Grammaticus. The History of the Danes.
 The Poetic Edda. Lokasenna, verse 26.
 Snorri Sturluson. Ynglinga Saga 3. In Heimskringla: eða Sögur Noregs Konunga.
 See, for example: Grimm, Jacob. 1882. Teutonic Mythology, Volume 1. Translated by James Steven Stallybrass. p. 302.
 The Poetic Edda. Lokasenna, verse 29.
 Snorri Sturluson. The Prose Edda. Skáldskaparmál 18-19.
 Ellis-Davidson, Hilda Roderick. 1964. Gods and Myths of Northern Europe. p. 111.
 Grimm, Jacob. 1882. Teutonic Mythology, Volume 1. Translated by James Steven Stallybrass. p. 300.
 Orel, Vladimir. 2003. A Handbook of Germanic Etymology. p. 114.
by Emma Groeneveld
Freyja (Old Norse for ‘Lady’, ‘Woman’, or ‘Mistress’) is the best-known and most important goddess in Norse mythology. Beautiful and many-functioned, she features heavily as a fertility goddess stemming from her place in the Vanir family of the gods (the other and main one is the Æsir family) along with her twin brother Freyr and father Njord, and stars in many myths recorded in Old Norse literature as lover or object of lust. She lives in Fólkvangr (‘Field of the People’), rides a carriage drawn by cats, and is connected not just with love and lust but also with wealth, magic, as well as hand-picking half of all fallen warriors on battlefields to go into Odin’s hall of Valhalla – the other half being selected by Odin himself. She likely played an important role in old Scandinavian religion.
Freyja is part of the Vanir family of the gods who handle all things fertility-related, including harvests (her brother Freyr); wind, sea, and wealth (her father Njord); and her own expertise regarding love, lust, and wealth, too. Her mother appears to have been giant-daughter and wife of Njord, Skadi, and while originally Freyja may have been paired in a brother-sister married couple with Freyr, Icelandic mythographer Snorri Sturluson (1179-1241 CE) – our most comprehensive source when it comes to Norse mythology – has her down as wife of Ódr, who she has two daughters with; Hnoss and Gersimi (Gylfaginning, 35). These names both mean something along the lines of ‘preciousness’ or ‘treasure’ and were possibly used in later poetry as manifestations of Freyja herself.
Ódr is said to have gone traipsing around on long journeys, inexplicably leaving Freyja behind, who would then search for him while weeping golden tears; this tale dates back to at least as early as the 10th century CE. He and Odin are commonly thought to have originally been one and the same person, with Ódr functioning as a shortened form of Odin.
One of Freyja’s attributes has already been mentioned: her cat-drawn carriage with which she zooms around the Norse mythological cosmos. Another is a garment – a coat, cloak or dress-like thing – made out of falcon feathers. Possibly, the boar Hildisvíni should also be counted among Freyja’s attributes; the Hyndluljóð poem has her riding said boar, and a boar connection, in general, is made more plausible by the fact that her brother Freyr is also associated with a boar, in his case named Gullinborsti. Sýr, another name of Freyja’s, is sometimes translated as ‘sow’, too, but it also might mean ‘to protect’, ‘to shield,’ in which case it would negate this third boar link. Germanic mythological powerhouse H. R. Ellis Davidson adds another animal: “Horses were certainly associated with the fertility pair Freyr and Freyja, and said to be kept in their holy places” (104). Her last – but not least – attribute is the necklace Brísingamen.
FREYJA’S MANY ROLES
The baseline of Freyja’s various functions comes from her role as fertility goddess as per her Vanir descent. Specifically, her other name Horn (Hǫrn, or Härn) probably comes from Old Norse horr, which means flax or linen. This was an important product which began being cultivated early on in Scandinavia and was thought to ward off evil and give fertility to humankind. Flax manufacture was a female affair, and as bridal dresses were made of linen, Freyja became a sort of defender of love and weddings, too. Another one of her names, Gefn, is Old Norse for ‘giver’, bringing to mind a role as a goddess of plenty.
The handed-down mythology emphasises Freyja’s role in all things related to sexuality (apart from childbirth, with which she seems unconcerned). For one, she often features as an irresistible object of lust, mainly in the eyes of the giants. The giant Thrym, for example, is only cool with returning the hammer he has stolen from Thor if he gets Freyja for his own. Besides her being the ‘price’ of many things – which the other gods try to avoid paying, as such – other myths reinforce Freyja’s supposed free and considerable sexuality. Although Loki in the Lokasenna poem badmouths everyone around him and accuses all the goddesses of various sexual acts, Freyja is reprimanded by Loki as follows:
Be silent, Freyja! | for fully I know thee,
Sinless thou art not thyself;
Of the gods and elves | who are gathered here,
Each one as thy lover has lain. (30)
She also consents to sleep with four dwarves in turn in order for them to hand over the Brísingamen to her and is accused in the Hyndluljóð poem of being the hero Óttar’s lover. Presumably, then, early Scandinavians looked to Freyja in matters of love and lust.
To make things even better, Freyja is also a goddess of wealth, as attested to by the many poetic references that link her to treasure. Her tears are said to be made of gold, even being synonymous with the material:
Gold is called Freyja’s Tears (…). So sang Skúli Thorsteinsson:
Many a fearless swordsman
Received the Tears of Freyja.
The fact that Freyja’s daughters’ names Hnoss and Gersimi mean ‘preciousness’ or ‘treasure’ could arguably be seen as the “product of poetic convention in which Freyja was recognized as the source of treasure: perhaps as the weeper of golden tears, perhaps as a goddess ruling over wealth” (Billington & Green, 61).
Her connection with magic is also well-known, and Snorri Sturluson relays how it was Freyja who first taught the shamanistic magic called seiðr to the Æsir. Finally, the way Freyja chooses slain warriors to be on her as opposed to Odin’s team carries her into more ferocious spheres, functioning as a goddess of death and perhaps even battle itself. Which god selects you seems to boil down to social or personal status, or perhaps comes from the fact that both the Vanir and the Æsir needed someone to fulfil this role on the battlefield. This link between Freyja and Odin, as well as Odin’s own strong proficiency with magic, helps illustrate how Odin and Ódr, Freyja’s husband, could plausibly have originally been the same person.
MYTHS INVOLVING FREYJA
As evidenced above, there are plenty of myths recorded in the Old Norse sources that are keen to dive into the subject of Freyja. The Hyndluljóð poem emphasises she was more than just a pretty face; in it, Freyja visits wise-woman Hyndla asking her to unravel the hero Óttar’s ancestry, soaking up this knowledge. However, in the Þrymskviða (the ‘Lay of Thrym’, a poem possibly composed in the 12th or 13th century CE and found in the Poetic Edda), her desirability is once again a core theme. The story tells of Thor’s hammer being stolen by the giant Thrym, who will not return the hammer unless he gets his hands on Freyja. Freyja refuses to tag along, however, giving up the Brísingamen to help Thor disguise himself as her. After almost giving things away because Thor gorged himself to such an extent at the wedding banquet so as to raise suspicion – his burning eyes not helping either – Loki luckily smooth-talks his way out of it and ensures they get the hammer back. For good measure, Thor kills Thrym and a bunch of other giants on his way out.
As for other giant-related myths, the giant Hrungnir boasts he would bodily move Valhalla into Jotunheimen (the realm of the giants), sink Asgard (the realm of the gods), and kill all the gods except for Freyja and Sif, who he will take home with him (Skáldskaparmál, 17). In the tale of the Giant Master Builder, a giant offers to build walls around Asgard as long as he gets Freyja, the sun and the moon. Regarding her necklace Brísingamen, which is assigned to Freyja by Late Old Norse sources (13th and 14th centuries CE), the most famous myth concerns its theft (most commonly by Loki) but is preserved in such a fragmentary and tricky way that it is now rather hard to come up with one comprehensive story. The most detailed version is also the youngest and thus not the pinnacle of reliability: the Sǫrla Þáttr, which survives in the 14th century CE Flateyjarbók, describes how Freyja sleeps with four dwarves to get the Brísingamen, and how Odin then forces Loki to steal the necklace from her. Loki enters her bedroom as a fly, stings her so she moves her hand off of the necklace, and grabs it. By contrast, Snorri Sturluson has Loki and Heimdall fighting each other over the necklace (Skáldskaparmál, 8).
CULT OF FREYJA
As a fertility goddess, Freyja would have taken up a central role in old Scandinavian religion, playing a part in the circle of life. J. P. Schjødt explains her special position:
Freyja is one of the few individual goddesses who has had a major role in the more official religious cult (whereas many female deities seen as collectives played a part in both myth and ritual). She incorporates many traits that can be found in fertility goddesses all over the world, among whom is a clear connection also to death. (Brink & Price, 221)
The Old Norse sources do not specifically detail the existence of a cult of Freyja per se, but the large number of place-names in Sweden and Norway related to her name, such as Frøihov (from Freyjuhof, ‘Freyja’s temple’) and Frǫvi (from Freyjuvé, ‘Freyja’s shrine’), show clear worship, perhaps even pointing to a public cult as opposed to the domestic cult one would expect of a goddess of love. It is clear that the people of Iceland on the cusp of conversion to Christianity around the year 1000 CE still had Freyja clearly on their mind. The Íslendingabók states that Hjalti Skeggjason, a supporter of Christianity, was outlawed for blasphemy after calling Freyja a bitch (in this case a female dog, but taken to mean he wanted to call her a whore) at the Althing parliament. She was obviously still important enough for people to not successfully get away with these sorts of things.
ABOUT THE AUTHOR
Emma has studied History & Ancient History. During her Master’s she focused on Herodotus as well as the juicy politics of ancient courts, but more recently she has been immersing herself in everything prehistoric. She both writes and edits for AHE.
Originally published on Ancient History Encyclopedia