Valhalla

250px|thumb|Walhalla (1896) by [[Max Brückner (artist)|Max Brückner in a scenic backdrop for Richard Wagner's Der Ring des Nibelungen]]

In Norse mythology, Valhalla ( , ; , ) is described as a majestic hall located in Asgard and presided over by the god Odin. There were five possible realms the soul could travel to after death. The first was Fólkvangr, ruled by the goddess Freyja. The second was Hel, ruled by Hel, Loki's daughter. The third was that of the goddess Rán. The fourth was the Burial Mound where the dead could live. The fifth and last realm was Valhalla, ruled by Odin and was called the Hall of Heroes. The masses of those killed in combat (known as the einherjar), along with various legendary Germanic heroes and kings, live in Valhalla until Ragnarök, when they will march out of its many doors to fight in aid of Odin against the jötnar. Valhalla was idealized in Viking culture and gave the Scandinavians a widespread cultural belief that there is nothing more glorious than death in battle. The belief in a Viking paradise and eternal life in Valhalla with Odin may have given the Vikings a violent edge over the other raiders of their time period.

Valhalla is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, in the Prose Edda (written in the 13th century by Snorri Sturluson), in (also written in the 13th century by Snorri Sturluson), and in stanzas of an anonymous 10th-century poem commemorating the death of Eric Bloodaxe known as Eiríksmál as compiled in Fagrskinna. Valhalla has inspired innumerable works of art, publication titles, and elements of popular culture and is synonymous with a martial (or otherwise) hall of the chosen dead. The name is rendered in modern Scandinavian languages as in Icelandic, while the Swedish and Norwegian form is ; in Faroese it is , and in Danish it is .

Etymology

The Modern English noun Valhalla derives from Old Norse , a compound noun composed of two elements: the masculine noun 'the slain' and the feminine noun which originally referred to a rock, rocks, or mountain; not a hall, thus meaning Valhalla was originally understood as the "rock of the Slain".

The second element, , is a common Old Norse noun. It is cognate to Modern English hall and offers the same meaning. Both developed from Proto-Germanic *xallō or *hallō, meaning 'covered place, hall', from the Proto-Indo-European root *kol-. As philologists such as Calvert Watkins note, the same Indo-European root produced Old Norse , a proper noun employed for both the name of another afterlife location and a supernatural female entity as its overseer, as well as the modern English noun hell.

Attestations

thumb|Three valkyries bearing ale in Valhalla (1895) by [[Lorenz Frølich]]

thumb|Hundingbane's Return to Valhalla (1912) by [[Ernest Wallcousins]]

Poetic Edda

Valhalla is referenced at length in the Poetic Edda poem Grímnismál, and Helgakviða Hundingsbana II, while Valhalla receives lesser direct references in stanza 32 of the Völuspá, where the god Baldr's death is referred to as the "woe of Valhalla", and in stanzas 1 to 3 of Hyndluljóð, where the goddess Freyja states her intention of riding to Valhalla with Hyndla, in an effort to help Óttar, as well as in stanzas 6 through 7, where Valhalla is mentioned again during a dispute between the two.

Grímnismál

In stanzas 8 to 10 of Grímnismál, the god Odin (in the guise of Grímnir) proclaims Valhalla is in the realm of Glaðsheimr. Odin describes Valhalla as shining and golden, and it "rises peacefully" as seen from afar. From Valhalla, every day Odin chooses from those killed in combat. Valhalla has spear-shafts for rafters, a roof thatched with shields, coats of mail are strewn over its benches, a wolf hangs in front of its west doors, and an eagle hovers above it.<poem>

The hall is easily recognised by those who come to Óðinn:

Spear-shafts are the rafters, the hall is thatched with shields,

And the benches are strewn with byrnies.

The hall is easily recognised by those who come to Óðinn:

A warg hangs before the western door,

And an eagle hovers above . . .

Andhrímnir lets Saehrímnir, best of flesh,

Be seethed in Eldhrímnir, the cauldron,

Though few know what the Einherjar feast on.

Battle-accustomed, glorious Host-Father feeds Geri and Freki;

But weapon-stately Óðinn lives on wine alone.

Huginn and Muninn fly over the mighty earth every day;

I fear for Huginn, that he not come back,

But I look more for Muninn.

Thundr roars loudly;

Thjóðvitnir’s fish sports in the flood;

The river roars loudly,

The battle-slain think it too strong to wade.

That which stands on the holy fields,

Before the holy doors,

Is called Valgrind, the Slain-Gate;

Those gates are old,

And few know how they may be locked.

Five hundred and forty doors:

So I know to be in Valhöll;

Eight hundred Einherjar go out of one door,

When they fare to battle the Wolf.

The goat who stands on Host-Father’s hall

Is called Heiðrún,

And bites off the limbs of Laeraðr;

She shall fill a cauldron with the shining mead,

That drink will never be exhausted.

The hart who stands on Host-Father’s hall

Is called Eikthyrnir,

And bites off the limbs of Laeraðr;

And drops fall from his horns into Hvergelmir,

To which all waters wend their way.

Shaker and Mist I wish to have bear a horn to me;

Skeggjöld and Striker, Shrieker and Battle-Fetter,

Loudness and Spear-Striker, Shield-Strength and Rede-Strength,

And God-Inheritance,

They bear ale to the Einherjar.

(Grímnismál 9–10, 18–22, 23–26)

</poem>

Odin, throughout this story is seen to have pet ravens that he sends out, and the warriors of his hall are dead men and ghosts who endlessly fight battles and endlessly die. There are also women who feed them and serve them alcohol and are the same spirits who chose them to die in the battles they fight. Valhalla in this story can be seen as a beautiful hall for the dead but it can also be seen as a lofty stylization of a battlefield after a fight. There are broken weapons and shields and dead bodies and ghosts cover the hall that gets ravaged by wolves and ravens. To the Vikings of the time, this was not only their desired afterlife, but a way to cope with the horrors of battle.

</poem></blockquote>

Prose follows after this stanza, stating a burial-mound was made for Helgi. After Helgi arrived in Valhalla, he was asked by Odin to manage things with him. In stanza 39, Helgi, now in Valhalla, has his former enemy Hunding—also in Valhalla—do menial tasks; fetching foot-baths for all of the men there, kindling fire, tying dogs, keeping watch of horses, and feeding the pigs before he can get any sleep. In stanzas 40 to 42, Helgi returns to Midgard from Valhalla with a host of men. An unnamed maid of Sigrún, Helgi's valkyrie wife, sees Helgi and his large host of men riding into the mound. The maid asks if she is experiencing a delusion, if Ragnarök is started, or if Helgi and his men were allowed to return.

Vafthrúðnismál

In the story of Vafthrúðnismál Odin disguises himself as a man named Gagnráð and visits the all knowing giant, Vafthrúðnir, to not only test his knowledge, but gain wisdom from the giant as well. Odin and Vafthrúðnir exchange questions and tests Odin on his knowledge of the afterlife and cosmology. Vafthrúðnir asks Odin about the topography of Valhalla in Stanzas 15 and 16<poem>

Vafthrúðnir said: Say this, Gagnráðr,

since you want to test your talent on the floor:

What is the river called that divides the earth

among the sons of giants and among the gods?

Óðinn said: The river is called Ífing,

which divides the earth among the sons

of giants and among the gods.

</poem>

Then, it is Odin's turn to ask the giant questions but instead of asking questions on the afterlife, Odin asks more esoteric questions like the fate of the gods and the end of the world. Those that are chosen to live in Valhalla with Odin prepare every day for the end of the world, also known as Ragnarök. These Vikings prepare for the battle of the end of the world everyday in the eternal battle and is the main characteristic to daily life in Valhalla.

In chapter 20, Third states Odin mans Valhalla with the Einherjar: those killed in battle and become Odin's adopted sons. In chapter 36, High states valkyries serve drinks and see to the tables in Valhalla, and Grímnismál stanzas 40 to 41 are quoted in reference to this. High continues the valkyries are sent by Odin to every battle; they choose who is to die, and determine victory.

In chapter 38, Gangleri says: "You say all men who have fallen in battle from the beginning of the world are now with Odin in Valhalla. With what does he feed them? I should think the crowd there is large." High responds this is indeed true, a huge amount are already in Valhalla, but yet this amount will seem to be too few before "the wolf comes." High describes there are never too many to feed in Valhalla, for they feast from Sæhrímnir (here described as a boar), and this beast is cooked every day and is again whole every night. Grímnismál stanza 18 is recounted. Gangleri asks if Odin eats the same food as the Einherjar, and High responds Odin needs nothing to eat—Odin only consumes wine—and he gives his food to his wolves Geri and Freki. Grímnismál stanza 19 is recounted. High additionally states, at sunrise, Odin sends his ravens Huginn and Muninn from Valhalla to fly throughout the entire world, and they return in time for the first meal there.

In chapter 39, Gangleri asks about the food and drinks the Einherjar consume, and asks if only water is available there. High replies of course, Valhalla has food and drinks fit for kings and jarls, for the mead consumed in Valhalla is produced from the udders of the goat Heiðrún, who in turn feeds on the leaves of the "famous tree" Læraðr. The goat produces so much mead in a day, it fills a massive vat large enough for all of the Einherjar in Valhalla to satisfy their thirst from it. High further states the stag Eikþyrnir stands atop Valhalla and chews on the branches of Læraðr. So much moisture drips from his horns, it falls down to the well Hvelgelmir, resulting in numerous rivers.

In chapter 40, Gangleri muses Valhalla must be quite crowded, to which High responds Valhalla is massive and remains roomy despite the large amount of inhabitants, and then quotes Grímnismál stanza 23. In chapter 41, Gangleri says Odin seems to be quite a powerful lord, controlling quite a big army, but he wonders how the Einherjar keep busy while they are not drinking. High replies daily, after they dressed and put on their war gear, they go out to the courtyard and battle one-on-one combat for sport. Then, before mealtime, they ride home to Valhalla and drink. High quotes Vafþrúðnismál stanza 41. In chapter 42, High describes "right at the beginning, while the gods were settling", they established Asgard, then built Valhalla. The death of the god Baldr is recounted in chapter 49, with the mistletoe used to kill Baldr is described as growing west of Valhalla.

Skáldskaparmál

At the beginning of Skáldskaparmál, a partially euhemerized account is given of Ægir visiting the gods in Asgard and shimmering swords are brought out and used as their sole source of light as they drink. There, numerous gods feast, they have plenty of strong mead, and the hall has wall-panels covered with attractive shields. This location is confirmed as Valhalla in chapter 33.

In chapter 2, a quote from the anonymous 10th-century poem Eiríksmál is provided (see the Fagrskinna section below for more detail and another translation from another source):

<blockquote>What sort of dream is that, Odin? I dreamed I rose up before dawn to clear up Val-hall for slain people. I aroused the Einheriar, bade them get up to strew the benches, clean the beer-cups, the valkyries to serve wine for the arrival of a prince.</blockquote>

In chapter 17 of Skáldskaparmál, the jötunn Hrungnir is in a rage and, while attempting to catch up and attack Odin on his steed Sleipnir, ends up at the doors to Valhalla. There, the Æsir invite him in for a drink. Hrungnir goes in, demands a drink, and becomes drunk and belligerent, stating that he will remove Valhalla and take it to the land of the jötunn, Jötunheimr, among various other things. Eventually, the gods tire of his boasting and invoke Thor, who arrives. Hrungnir states that he is under the Aesir's protection as a guest and therefore he can't be harmed while in Valhalla. After an exchange of words, Hrungnir challenges Thor to a duel at the location of Griotunagardar, resulting in Hrungnir's death.

In chapter 34, the tree Glasir is stated as located in front of the doors of Valhalla. The tree is described as having foliage of red gold and being the most beautiful tree among both gods and men. A quote from a work by the 9th-century skald Bragi Boddason is presented that confirms the description.

Heimskringla

Valhalla is mentioned in euhemerized form and as an element of remaining Norse pagan belief in . In chapter 8 of Ynglinga saga, the "historical" Odin is described as ordaining burial laws over his country. These laws include that all the dead are to be burned on a pyre on a burial mound with their possessions, and their ashes are to be brought out to sea or buried in the earth. The dead would then arrive in Valhalla with everything that one had on their pyre, and whatever one had hidden in the ground. Valhalla is additionally referenced in the phrase "visiting Odin" in a work by the 10th-century skald Þjóðólfr of Hvinir describing that, upon his death, King Vanlandi went to Valhalla.

In chapter 32 of Hákonar saga Góða, Haakon I of Norway is given a pagan burial, which is described as sending him on his way to Valhalla. Verses from Hákonarmál are then quoted in support, themselves containing references to Valhalla.

Fagrskinna

In chapter 8 of Fagrskinna a prose narrative states that after the death of her husband Eric Bloodaxe, Gunnhild Mother of Kings had a poem composed about him. The composition is by an anonymous author from the 10th century and is referred to as Eiríksmál, and describes Eric Bloodaxe and five other kings arriving in Valhalla after their death. The poem begins with comments by Odin (as Old Norse Óðinn):

"What kind of a dream is it," said Óðinn,

in which just before daybreak,

I thought I cleared Valhǫll,

for coming of slain men?

I waked the Einherjar,

bade valkyries rise up,

to strew the bench,

and scour the beakers,

wine to carry,

as for a king's coming,

here to me I expect

heroes' coming from the world,

certain great ones,

so glad is my heart.

</poem></blockquote>

The god Bragi asks where a thundering sound is coming from, and says that the benches of Valhalla are creaking—as if the god Baldr had returned to Valhalla—and that it sounds like the movement of a thousand. Odin responds that Bragi knows well that the sounds are for Eric Bloodaxe, who will soon arrive in Valhalla. Odin tells the heroes Sigmund and Sinfjötli to rise to greet Eric and invite him into the hall, if it is indeed he.

Sigmund asks Odin why he would expect Eric more than any other king, to which Odin responds that Eric has reddened his gore-drenched sword with many other lands. Eric arrives, and Sigmund greets him, tells him that he is welcome to come into the hall, and asks him what other lords he has brought with him to Valhalla. Eric says that with him are five kings, that he will tell them the name of them all, and that he, himself, is the sixth. Over time, this view of valkyries in Valhalla softened, making them into protective spirits. They are the women who serve the men of Valhalla in feasts and care for the warriors until Ragnarök. This later shift from violent overseers to sustainers of life shows how the image of women changed within Norse culture with the introduction of Christianity. This belief in horses being the main way of getting to Valhalla is also supported in the story, Sögubrot, where the character Harald Wartooth is buried with his horse and a wagon so he could ride to Valhalla.

References to Valhalla appear in literature, art, and other forms of media. Examples include K. Ehrenberg's charcoal illustration Gastmahl in Walhalla (mit einziehenden Einheriern) (1880), Richard Wagner's depiction of Valhalla in his opera cycle Der Ring des Nibelungen (1848–1874), the Munich, Germany-based Germanic Neopagan magazine Walhalla (1905–1913), the book series Magnus Chase and the Gods of Asgard by Rick Riordan, the comic series Valhalla (1978–2009) by Peter Madsen, and its subsequent animated film of the same name (1986).

In the 2015 film Mad Max: Fury Road, the cult of the War Boys believe a heroic death in the service of dictator Immortan Joe will take them to Valhalla.

A video game Assassin's Creed Valhalla was released in November 2020. The video game Apex Legends features a character named Bloodhound, who often references Valhalla and the Allfather, a commonly used kenning for the Norse god Odin. Valhalla is also referenced in the manga 'Heart Gear' by Tsuyoshi Takaki as a battle ground where the 'combat' gears take turns in fighting each other to the death as their leader, Odin, observes. Another video game, Overwatch 2, features two in game cosmetic skins that were inspired by Valhalla's Valkyries. These skins are both on the flying support hero, Mercy, who heals and resurrects her team. These Valkyrie inspired skins feature a voice line where Mercy says, "till Valhalla" when she uses one of her mass team healing ability.

Elton John's first album, Empty Sky (1969), contains a song called "Valhalla". Led Zeppelin's "Immigrant Song" from their third album, Led Zeppelin III (1970), contains the following Valhalla reference: "The hammer of the gods/ Will drive our ships to new lands/ To fight the horde, sing and cry/ Valhalla, I am coming". Judas Priest's seventeenth studio album Redeemer of Souls released in 2014 included the song Halls of Valhalla, as lead singer Rob Halford describes as "singing about being on the North Sea and heading to Denmark or Sweden searching for Valhalla". Australian band Skegss's third album, Rehearsal (2021), contains a song called "Valhalla". Jethro Tull's album, Minstrel in the Gallery (1975), contains a song called "Cold Wind to Valhalla".

On 14 April 1989, Blind Guardian released Follow the Blind, track number 8 is titled "Valhalla."

In response to the assassination of Charlie Kirk, Federal Bureau of Investigation (FBI) director Kash Patel stated: "To my friend Charlie Kirk, Rest now brother. We have the watch and I'll see you in Valhalla" during a press conference.

Image:Walhalla aussen.jpg|The Walhalla temple above the Danube near Regensburg, Germany

Image:Walhalla 1910 view4.jpg|Walhalla, Victoria, Australia township in 1910

</gallery>

Notes

References

Byock, Jesse (Trans.) (2006). The Prose Edda. Penguin Classics.
Faulkes, Anthony (Trans.) (1995). Edda. Everyman.
Finlay, Alison (2004). Fagrskinna, a Catalogue of the Kings of Norway: A Translation with Introduction and Notes. Brill Publishers.
Hollander, M. Lee (Trans.) (2007). Heimskringla: History of the Kings of Norway . University of Texas Press.
Larrington, Carolyne (Trans.) (1999). The Poetic Edda. Oxford World's Classics.
Orchard, Andy (1997). Dictionary of Norse Myth and Legend. Cassell.
Orel, Vladimir (2003). A Handbook of Germanic Etymology. Brill.
Simek, Rudolf (2007) translated by Angela Hall. Dictionary of Northern Mythology. D.S. Brewer
Watkins, Calvert (2000). The American Heritage Dictionary of Indo-European Roots. Houghton Mifflin Company.
Welch, Chris (2005). Led Zeppelin: Dazed and Confused: The Stories Behind Every Song. Thunder's Mouth Press