THUNDER ISSUE 12 AUTUMN 1999

Greetings

Welcome to the TWELFTH issue of Thunder, a journal dedicated to the thunder gods of Northern Europe.

This issue is dedicated to runes as the usual runic section was missed from issue eleven. We are delighted to include submissions from Math Jones, winner of the summer competition, a very welcome article from Steve Pollington and all the usual Thor related stuff!

Cover Artwork

The cover picture shows Sif the wife of Thor, another of Thorskegga's series of paintings of the Anglo-Saxon/Norse gods and goddesses. Sif is not given an official role in the surviving mythology, but her name means 'relative or kin' and she acts as peace-weaver in the tale of Loki's Flyting, the cup in her hands is the peace offering from this tale. The shears are a reference to the myth in which Loki cuts off her hair and replaces it with gold.

She is also credited with the knowledge of the future, Snorri gives her the title of Sibyl in his introduction to the Edda. Represented here by the weaving loom, a common symbol of fate. The house-pillars remind us of her interest in friendship between family and kindred, and of course her close links with Thor.

Rowan is sacred to Thor's wife in Eastern Europe.

THE RUNES

This is a follow on from issue ten's section on the Anglo-Saxon runes. We have some new contributors so we are starting again from Feoh, and proceeding as far as Heagl with our next six runes. Nyd, Is and Ger will be considered in the winter issue, so please write in with your thoughts on those runes for publication.

The beautiful pencil drawings for the runes in this issue have been donated by Jim Kirkwood. Photocopying does these images little justice, but they can be viewed in colour on the Thorshof website.

FEOH

Jim Davis:

Wealth should flow,
constantly circulating
to promote the common good.
Sellers, buyers, investors, and the taxing authorities
portion out between them
the incomes of the folk.
Money sitting idle
causes only harm.

Math Jones:

Feoh byth frofur fira gewhylcum

sceal theah manna gewhylc miclun hyt dælan

gif he wile for drightne domes hleotan

Feoh - fee, cattle, riches - is a comfort to any man

though each man should deal it out greatly

if he will before his drighten be alloted dooms...

Feoh - taking a wider meaning of wealth, ie. gold, coin, pennies, from its original meaning of cattle - is described as a consolation or refuge as well as a help (frofur ). The verse then says that it should be dealt out freely if he wishes to thought well of by his lord (or God?). Dom, or doom, has meanings beyond our 'doomed to die' - of a judgement, an evaluation of a man's worth or life, a reflection and assessment of what has been; while drighten is a leader of a warband, but is also often used for Christ (we might similarly used it for Woden, for Ingwi-Frey or others... ). Hleotan means to obtain by lot, to casts lots - so is there a reference to the casting of runes done by the head of the hall, the drighten ? A time for dealing out.

Jim Davis:

One must grab life's challenges by the horn's
to ride the waves of one's wyrd.
Before such a powerful one
the world becomes one's domain.

Math Jones:

Ur byth anmod and oferhyrned

felafrecne deor feohteth mid hornum

mære morstapa thæt is modig wuht

Translation:

Ur - the aurochs - is one-minded, has one mood, and is overhorned,

a fully fierce deer, it fights with its horns

a famous moor-stepper and a moody wight.

A vivid description of the ur-ox. Here mod, as in anmod and modig, is far more than our modern moody/sullen, referring to an older use of temper. Mood is also one's sense of self, one's heart and mind, one's spirit, and the honouring of one's feelings. A time to stand firm, to own one's worth.

THORN

Jim Davis:
Computers crash
and planes fall out the skies.
That is the nature of things
and not always evil in intent.
Even good people sometimes cause
good people harm.

Math Jones:

Thorn byth thearle scearp thegna gehwylcum

anfeng ys yfel ungemetum rethe

mann gewhylcun the him mid resteth

Translation:

Thorn - Thorn is vigorously, harshly sharp to any thane,

to seize it is ill, and cruel beyond measure

for any man who rests among them.

This describes something extremely harsh and sharp to grasp a hold of, something which, if approached at all, should be done with care and plenty of protection. No wonder the thorn was used as a boundary plant. And while it may be common sense not to remain in a situation 'beset with thorns', it is not uncommon for folk to do so ... A time to move on from, or to avoid, a hard situation.

Latin Symbol: O.

A god is the origin of all speech.

Wisdom's prop and wise men's comfort,

and for every man a blessing and a joy.

Trans: Tony Linsell

Summary: Communication. Wisdom.

Thorskegga:

Dark Age society passed on information orally with very few exceptions, such as carved or embroidered wall murals depicting myths and legends. Therefore speech, and the ability to speak well was the embodiment of wisdom. Many forms of entertainment from the period relied on the oral skills, singing,storytelling poetry and riddle telling.

The name of this rune Oss means god, and survives in the English names Oscar and Oswald, and is the equivalent of the Norse 'As'. The god of this peom is generally considered to be Woden, due to his role in the Norse myth of thecreation of mankind, although the title 'oss' may be deliberate vague to caterfor local variations in belief.

Gods: Odin, Braggi, Kvasir.

Animals: Eagle (in Norse myth Odin obtains the mead of inspiration in an eagle's form), Horse (Odin is linked with horses and Yggdrasil mean's 'Odin's Horse' which links in another wisdom myth.

Plants: Ash, Yew, Elm (both Ash and Yew are associated with Yggdrasil, Ash & Elm were the names of the first humans to who Odin gave the gift of speech (Snorri's Edda)).

Ferret:

Communication, now who do we know with the gift of the gab. Loki has a real talent in this area, ha can talk himself into and out of anything. Why else would his mouth have been sewn shut?

Savrin:

This is a rune I use to indicate the ability to pass on wisdom. It also has a lot to do with being persuasive and cunning with words.

Olwen Thorsfriend:

So how does Thor fit into the wisdom myths? Odin wins the gift of poetry by draining three vats of magic mead. Thor goes on a quest to fetch a magic brewing kettle from the giant Hymir. Cauldron fetching myths are very common and the cauldron generally has some deep magical significance, so could these be different versions of the same myth? Is it no co-incidence that Thor's shamanic form is also the eagle?

Mother Earth gave us cheerful voices, so sing loud, make merry and bring joy to your friends.

Jim Davis:

The worlds came into being thru
the crashing sounds of fire and ice.
Sound and the maker sounds
the divine word is spoken.
Wisdom and tradition
give comfort to the folk
in times of great changes.

Math Jones:

os byth ordfruma ælcre spræce

wisdomes wrathu and witena frofur

and eorla gehwam eadnys and to hiht

Translation:

Os - possibly related to Norse As, Æsir - a divinity or God (which one is the reader's choice... ) is the ordfruma , the source of all speech or language,

the prop and support of wisdom and the consolation of the wise

and for every eorl, ie. warrior, leader, or man,an inner ease or peace (eadnys ) and a hope or refuge (to hyht ).

This describes speech as something created by a God - Woden, an obvious candidate - as something of divine derivation. And that source, that divinity, is something that fosters the getting and passing on of wisdom, indeed wisdom would fail without it. And what's more, brings to the eorl an inner peace, a gentleness, a hope. A fitting description of the Christian ideal, or evoking a kinder picture of Woden's might. Note, both frofur and to hyht have a sense of consolation, of comfort in a harsh world. A time to reflect on, or to speak of, the greater reality, the meaning behind the word or deed.

RAD

Latin Symbol: R.

Riding in the hall is very pleasant but

for the warrior sitting on a strong horse

covering the mile-paths it is very hard.

Trans: Tony Linsell

Summary: Travel, transition, discomfort.

Thorskegga:

Here we see a common comparison between the life of the warrior fighting out in all weathers, and the spoilt noble relaxing on the benches of his hall. This contrast was usually used as an insult, a 'bench warrior' was a man who did not fight, and therefore to a hardened warrior, a coward.

However there is no suggestion of reprimand here, just the heartfelt desire of a Dark Age traveler for warmth, food and safety.

Gods: (known for travelling) Thor, Frey, Freyja, Hermod, Odin, Nerthus.

Animals: Horse, Donkey (Goat, Boar, Cat, Ox).

Plants: Traveller's Joy (Bindweed).

Ferret:

As it says traveling is a chore, one which Loki frequently shouldered. He visited many people and places, often for the benefit of other gods. Loki is also well known for taking Thor off on expeditions.

Savrin:

For me this is the rune of travel, it covers both the hardship and hassle of the journey and the pleasure and benefit of it.

In a few cases the journey might mean a personal change but more commonly I use this for the mundane variety of journey.

Olwen Thor's friend:

The very concept of Rad fits in very well with Thor's character. His nicknames 'Thor the charioteer' and 'lone riding one' emphasise his link with the open road.

Rad symbolises the hard effort of moving from one stage in life to another. Be it changing house, partner, school, career or literally traveling to a new country and embracing a new culture. Rad is also the courage to accept your own place in society, your own transition from

puberty, marriage, gradual aging, retirement and the journey beyond the life we know.

Jim Davis:

When one sits in one's home
everything looks so easy;
talk is easier than action.
To walk in another's shoes
and do better,
that is a most difficult task.

Math Jones:

rad byth on recyde rinca gewhylcum

sefte and swithhwæt thæm the sitteth onufan

meare mægenheardum ofer milpathas

Translation:

Rad - Riding, the act of riding - is for heroes (rinca ) within the hall (recyde )

a soft and easy business, but they are strong and sharp (swithhwæt )

who sit on the main-hardy steed over the mile-paths.

'Riding' the mead benches, amongst the talk and boasting, is compared with the traveller outside on the roads - speech is easier than doing ... A time to put up, or shut up.

CEN

Latin symbol: C

Torch to all living creatures is clear by its fire.

Shiny and bright it burns most often

where leaders choose to rest.

Trans: Tony Linsell

Summary: Light, guidance, leadership, wealth.

Thorskegga:

Artificial light was very costly, as it was made from oils and animal fats which depleted reserves of food. Thus we have the traditional expressions 'burning the candle at both ends' and 'burning the midnight oil'.

Artificial light was a luxury, and in the Anglo-Saxon hall only the lord would have had light in the evening while everyone else made do with the light of the hearth fire.

Thus Cen has two meanings, light and leadership, which still have much meaning today. The torch is often met as a symbol of guidance and benevolent leadership and is seen in school badges and political party logos in this context.

Plants: Rush (used to make basic candle wicks).

Animals: Moth.

Gods: (whoever represents leadership and inspiration)

Savrin:

I use this to mean illumination, or solutions to a problem. I also use it to represent any fire or light.

Olwen:

Cen is the wise and kind leader of men who wards his folk and keeps them from harm. The farm lord is friend to the Thunderer and Ing Frey. He shares his knowledge with the folk and gains power and status from their health and well being.

Thor is the bright god with his crown of fire. Cen represents Thor as the loving father of the folk, and inspiration of housewife and artisan.

A dull flame is little regarded, pride is not enough to win respect.

Jim Davis:

The inner light which is never extinguished
brightens the dark weary world.
This body is a great hall;
the mind sits in the body's high seat.
The call to faith
a torch carrying procession.

Math Jones:

cen byth cwicera gewham cuth on fyre

blac and beorhtlice byrneth oftust

thær hi athelingas inne restaß

Translation:

(Cen is a pinetorch, a means of lighting the hall through the night, but calls to mind cennan - to conceive and bring forth; and cene - keen and clever; and 'canny'.)

Cen to the quick, ie. to the living, to people is cuß, known/familiar, for or by its fire.

Bleak (ie. pale and shining) and brightlike, it burns most often

where they - the æthelings - rest inside (or inwardly rest).

A literal image and a metaphor - prosperous folk rest within a hall, with bright torches to light them, or wise and noble folk sitting at peace with themselves in mutual recognition, in the light or self knowledge and inner wisdom. A time to learn, or to demonstrate learning.

GYFU

Jim Davis:

The giver and the giftee
form a circle of obligation.
As these are the bonds
which form true community.
Tho one can give too much
and receive that which one doesn't want.

Math Jones:

gyfu gumena byß gleng and herenys

wraßu and wyrßscipe and wræcna gehwam

ar and ætwist ›e byß oßra leas

Translation:

Gyfu - giving - to the gome, the man or hero, is gleng - an ornament, a making more fine, and a form of praise (herenys ),

a support (wraßu again) and a worthship, and to any wretch (wræcna gehwam )

is an ar - an honour or benefit - and ætwist - sustenance, which is otherwise lacking.

Within the hall, the lord gives to his heroes, increasing their worth both in a monetary sense and in reputation. The verse talks of worthship (from which we get worship), ie honouring the worthy with gifts and praise, particularly those who support us. Note, wræce was used for those without home or friends, a wretch without kin. Later, it was applied to those adventurers who went to seek wealth and fame in the warband of a great lord, and so became used for 'hero' or 'warrior'. A time to honour those who add worth to your life.

WYNN

Latin symbol: W

Joyful is he who has little want,

soreness and sorrow, and has for himself

plently and bliss and a comfortable dwelling.

Trans: Tony Linsell

Summary: Joy, comfort.

Thorskegga:

Times have changed! The most valued comforts of Anglo-Saxon England were having enough to eat and a dwelling which which kept out some of the weather.

These were luxuries, for even the wealthy could go short of food and suffered from the cold in winter.

The rune wynn invokes the time of harvest, when the weather is still warm and food is plentiful.

Plants: Summer flowers.

Animals: Songbirds.

Gods: Frey and Freyja.

Olwen Thorsfriend:

Wynn is the joy of a summers day, a carefree time, when the ice giants are driven furthest from the lands of men, and the blessing of Thor and the Earth mother warm the coldest of hearts.

Wynn is security, the relief of a battle won and a home defended.

Smell the flowers while they bloom, you will miss them when the north wind blows.

Jim Davis:
It is bliss to reach the state of happiness:
no suffering, no sorrows, great joy.
To have the necessities of life
and to be able to help others.
Even in a reversal of fortune
one who is truly free
can still find joy
in this world and in other realms.

Math Jones:

wyn ne bruceß ›e can weanna lyt

sares and sorge and him sylfa hæfß

blæd and blysse and eac byrga geniht

Wynn - joy, gladness, pleasure (surviving in 'winsome') is enjoyed by those who know little of woe (alternatively, those who know a little of woe)

of sores and sorrow, and has for himself

prosperity and riches (blæd ), and happiness and bliss and also security enough.

Here the verse describes the happy man, who has much in riches, but also in spirit, in growth, in inspiration - all meanings of blæd ; who has merriment, friendship, kindness and grace - blyss ; and, what is more, has the security, the fortress or burg, enough to protect them. And is joy only found in an ingnorance of woe, or is it needful to know a little of sorrow to truely appreciate gladness? A time to enjoy what is yours, or to look to its safety.

HAEGL

Latin symbol: H

Hail is the whitest of grains.

It descends from heaven's air and swirls in the wind.

Soon it returns to water.

Trans; Tony Linsell

Summary: Cold, purity, movement, short-lived.

Thorskegga:

The poem speaks of the beauty of hail, its perfect whiteness. But it is a beauty that does not last.

Hail brings cold and pain to the workers in the fields and can ruin the harvest.

Plants: Snowdrop.

Animals: Beasts of the ice, polar bear, arctic fox and hare. Gods: Ull, Skadi.

Jim Davis:

Even a good life has its days.
As a hard rain good for the crops
turns to a hail storm that flattens them.
Even then the bad times don't last;
even the thickest hail
melts away.

Math Jones:

hægl byß hwitust corna hwyrft hit of heofenes lyfte

wealcaß hit windes scura weorße hit to wætere sy››an

Hail is the whitest of corn, whirling out of heaven's loft

wheeling in the wind's shower - soon it turns to water.

Hail is often seen as a token of misfortune - sudden and disastrous. Here it is seen as something in the grip of something greater, the wind blowing out of heaven. It does not remain, but soon turns into something helpful and soft; it might almost be seen as a seed (of corn). Troubles come and pass away. A time to watchful for calamity, or to look for its passing.

Math's Recommended Reading List on Runes:

Rudiments of Runelore, Stephen Pollington, Anglo-Saxon Books, 1995;

Anglo-Saxon Runes, J.M.Kemble, Anglo-Saxon Books, 1991;

Anglo-Saxon Mythology, Migration & Magic/Rune Cards, Tony Linsell & Brian Partridge, Anglo-Saxon Books 1992;

Rune Games, Marijane Osborn & Stella Longland, Routledge Keagan Paul, 1982;

Concise Anglo-Saxon Dictionary, John R. Clark Hall, Cambridge UP, 1960

MYTHS OF THOR FROM THE MIDGARD'S WEB LORE BOOK

The Princess of the Elves

(From Gautrek's Saga)

Alfhild was the daughter of King Alf of Alfheim (the land of the elves). She was carried off by Starkard, a cunning giant renowned for his wisdom.

Alf called on Thor to rescue his daughter. Thor killed the giant and returned Alfhild to her father. Afhild later bore the giant's child and named him Storvirk.

Thor was most put out that Alfhild had slept with the giant but refused him.

(Tales of Thor rescuing women and being rewarded with a night of passion were probably well known, the one surviving example is the tale of Eaglebeak.

This story comes across as a comedy based on an established and clichéd tale type, which must have been a favourite in every weaving room in North Scandinavia.

This tale is continued in the 'The Cursing of Skarkard' which is set two generations later.)

THE ELF KINGS'S DAUGHTER

The same myth reconstructed by Thorskegga Thorn

The iron shod hooves of Thrud's steed thundered across heaven's vault as the Valkyrie searched the land below for her father. Midgard had been besieged by trollwives, fierce hags, wise in magic. No mortal man was safe from these fiends who blinded their victims with unnatural lust and trapped them against their foul, stinking, warty breasts. Housewives and children wept for their bewitched and stolen loved ones.

By Hles Isle a glowing furnace of enchantment drew Thrud to the conflict she was seeking. The thunderer stood on the deck of his wrecked battleship, surrounded by a seething army of the berserk women, the horrible hags brandished iron clubs and shot arrows of fire from their fingers. Thialfi hid beneath his shield which blazed with flame from the onslaught, while Thor swung his hammer through the screaming troll wives. The weapon glowing brightly, the focus of his own magical defence against the barrage of spells that threatened to burn or seduce him. One by one the troll wives fell beneath the thunderer's blows.

Thrud urged her horse down to the beleaguered ship and leapt from the saddle so that the divine beast could ride home to safety as the battlemaid joined the fray. Thrud was almost overcome by the fury of the wild troll wives, it took all her magical skills to defend herself. Lacking magical energy for her offensive she drew her broadsword and swung it in an arc of trollblood. She sung the ancient magical words that Freyja had taught the gods long ago, and wove a web of power against the fiery missiles.

For two hours and more the battle waged, until the last surviving hags took fright and ran. The ship was nearly flooded with a sea of trollwife corpses. Thor and his kin sank to the deck, exhausted pale and shaking from the battle that had drained strength from both muscle and mind.

Eindridi hugged his weary daughter 'So what drove you from the high-seat of Bilskirnir? Surely you weren't worried about us handling a few wild women?'

'No.' Thrud forced a smile, though her expression betrayed concern. 'King Alf of Alfheim requires your services, his daughter has been kidnapped.'

'Bad timing.' Thor groaned 'Who took her?.

'Some giant called Starkard.'

'Jord's tits!' the god swore vehemently, 'He's an evil, cunning bugger and as strong as an ox. All I need now is a month of Thursdays, a lake of beer and a beautiful woman.' Thor emphasised his statement by indicating the foul corpses of the trollwives with disgust, 'and then I might consider taking on Starkard. Otherwise forget it!'

'Liar'. Thrud taunted.

'What?' her father glared at her.

'You won't leave that girl in Utgard and you know it.'

As the evening wore on, and the folk of Thrudvangr struggled to repair the ship with fresh timber and binding spells, Thor wrestled with the desire to head straight home and get the rest he craved after the long weeks of conflict against the troll wives. Some of the other gods had not joined the battle, and Loki had succumbed to the trollwives' charms surprisingly quickly. But Thrud knew him well, and he could not ignore King Alf's pleas.

By midnight the ship flew across the waves, storm driven, direct as an arrow to the shores of Utgard. Thor stood at the helm and spoke to Alf in the King's dreams. The Elf King was torn by grief and through his love the thunderer glimpsed the missing princess of Alfheim, a gentle and lovely maiden, unfit for the wild sports of the giants. Eager to ease the King's pain the As swore to do all he could to see Alf's daughter safely back to Alfheim.

The companions took turns at the steering oar and snatched what sleep they could. After two relentless days at sea they reached the shores of Utgard and a days march brought them to Starkard's hall. Starkard's dwelling was a stout wooden farmhouse, well built, carved and painted as witness to the giant's wealth.

Thor strode up to the main door which was flanked by pillars turned from whole tree trunks, and crafted from mighty planks reinforced with iron bands an inch thick. Thor knocked so fiercely that the timbers shook in their frame. A servant of giant stature opened the door intent on rebuking the visitor for the unseemly din, but paled at the sight of the thundergod and ran to fetch his master. Starkard arrived soon after bearing a nervous frown. No giant had tangled with Thor since Utgardaloki had tested his mettle centuries ago, Starkard had no intention of invoking the giantkiller's wrath.

'Greetings noble Aesir, how can I serve you?' Starkard asked ernestly.

'Where is she?' demanded Thor.

'Who?' the giant asked, he sounded puzzled.

'Alfhild of course, the daughter of the elf king you abducted.'

'Oh yes,' the giant replied, with a nervous smile of understanding 'I suppose I did.'

'Well take me to her' Thor growled, 'if you want to see another dawn.'

'Gladly' agreed Starkard 'she is in my storage loft, follow me I will take you there.'

The giant led the thunderer through the spacious, smoky hall to a grassy courtyard where goats were grazing the cropped lawn. Surrounded by outbuildings and barns, an elaborate structure towered, with wooden steps leading to the highest level. It was a storage house, where precious goods and grains were kept secure, safe and dry. He must have the poor girl chained up in there thought Thor.

They climbed the stairs to room above, 'Here she is.' said Starkard throwing open the loft door wide. Alfhild looked up startled from a storage chest she was inspecting, fine fabrics and jewels lay spread all around her. 'Alfhild, this is Asa Thor, he has come to rescue you.' the giant laughed and strode back down the stairway. Alfhild was slender with a green tint to her skin and a cloud of floating silver hair, the very embodiment of elvishness. She wore a green gown of flowing silk bordered with gold embroidery. Her beauty was enchanting, almost incredible compared to the hideous troll wives Thor had been fighting for weeks, no wonder the giant desired her.

'How did you know I was here?' the girl asked.

'Your father sent me, he is very worried for you. Have you been harmed?'

'No.' she replied.

Thor caught the girl's hands and drew her close. 'And nor will you be, I will protect you. Stay with me tonight so I know you are safe from that rough giant.' Thor embraced Alfhild and kissed her. To his surprise she tore herself from his arms and hit him hard, and stormed out of the loft, leaving Thor staggering more from shock than her blow. He gathered his wits and ran after her 'Alfhild, wait!'

'What?' the girl swung round to face him, her word was spat like a serpent's poison.

'I didn't mean to offend you. I am here to take you back to Alfheim.'

'I am not going.' The girl retorted.

'Sorry?'

'Are you deaf? I am not leaving, and I don't need your help, so leave me alone.' The girl shouted.

'You'rein love with Starkard?' Thor asked incredulous.

'Yes! And my interfering father can go to Hel!'

Despite the excellent spread the giant's servants provided at supper that evening, Thor sank into a black mood. Alfhild took great pleasure in taunting the thundergod, by sitting close to Starkard and simpering over him. Later, encouraged by wine, she even sat on the giant's lap and giggled as he opened her gown and caressed her.

Thor glared at his wine cup until the gold reflected the fearsome fire of his eyes, Thrud squeezed his arm in sympathy. The red bruise on his cheek stung more than any battle wound. 'Alf's going to be lucky if he doesn't get her back blackened and smoking.' Thor muttered.

'She is not worth it.' Thrud whispered back.

As the night wore on Alfhild and Starkard drank well and the giant lost his cautious respect of the Aesir as the wine made him bold. The girl whispered in the giants ear and Starkard said mockingly 'Alfhild tells me you desire her Thor, but she isn't interested in you because you lack my great wisdom.'

'Maybe.' Thor replied in a dangerous tone.

Alfhild whispered again. Starkard said 'Alfhild prefers me, because I am handsome and well dressed, while you are attired like a begger in need of a bath.'

'Maybe.' Thor growled.

Alfhild whispered a third time. Starkard said 'Alfhild prefers me, because I am strong by nature, and you are a runt who relies on magic weapons.'

'He's dead.' muttered Thialfi, Thrud kicked him under the table.

'I could kill you with this ox bone if I choose.' said Thor, twirling a fragment from the roast between his fingers.

Alfhild whispered again. Starkard said 'Alfhild prefers me, because I speak the truth, and I don't lie like a fool who lets the wine speak for him.'

Thor rose to his feet, unbuckled the belt of strength and laid his hammer on the trestles. He held up the splinter of bone for inspection, 'One bone and no magic.'

Starkard laughed, for the last time. Thor hurled the bone and struck the giant between the eyes, the impromptu missile hit with such force that it shattered Starkard's skull.

'Time to go!' said Thor as the very air was rent by Alfhild's howls of anguish.

A week later Thor arrived at the court of King Alf with Thiafli at his side. Alf greeted him warmly but was dismayed that his daughter did not accompany the As. 'How did you fare?' the King asked 'Where is my Alfhild?'

'That is a good question.' Thor replied 'We travelled to Starkard's hall but we did not find the gentle maid that Alfheim has lost.'

'Alas she must be dead.' The king wailed.

'But,' Thor continued 'we did find another woman who answered to your daughter's name. A giant's whore and the proud bearer of his bastard child. An ungrateful wretch who gave every resistance to the gods sent to her rescue. We brought her back in case you can help the girl find reason.'

Thrud dragged an outraged and screaming Alfhild into the Elf King's hall by her hair, and flung her to the rushes below Alf's high seat. 'Your daughter, your problem.' she said with considerable satisfaction.

Alf stared in shock at the sullen girl whose eyes were filled with hatred. 'Alfhild?' the king asked gently but the girl merely stared defiantly at her father.

'I have lost her.' The King wept 'Let her go to Midgard and find peace there, if she can.' Alf clasped the thundergod's hand, 'I thank you for you efforts and wish you a speedy journey home.'

At last the three companions returned to Bilskirnir, weary and dusty from travelling. Sif, Loki and Roskva waited to greet them by the great doorway to the hall. Tired as he was Thor picked up his wife in his arms and carried her to bed 'I've missed you.' Thor confided happily. The golden haired sibyl smiled, stroking the fading bruise Thor still sported, 'I know' she said.

(This tale is based on two fragments of myths. The troll wives are mentioned in the Lay of Hardbard (Poetic Edda) and are described as berserk she wolves wielding iron clubs who bewitch mortal men. Thor and Thialfi fight them from their ship which is mentioned nowhere else in the myths.

Alfhild the rebellious princess comes from the King Gautrek's Saga. King Alf sends Thor to rescue his daughter, and the As kills the giant only to discover that the girl preferred the giants attentions to his own. This scenario is the catalyst for a family feud of divine proportions, and Thor's curse on the antihero Starkard (the giants grandson), but that is another story!

Thrud is the beloved daughter of Thor in the Edda, her name also appears in the Eddic list of Valkyries and for the purposes of this tale I have assumed that the two goddesses are one and the same, and that Thrud acts as a messenger between her father and his devotees).

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East Sussex BN21 4AT

Full colour posters and greetings cards inspired by the northern tradition and paganism. Following designs available:

Thor weilding Mjolnir (601 card / 701 poster)

Menhir by Moonlight (602 card / 702 poster)

Viking Warrior (703 poster only)

Valkyrie and Fallen

Odin at the Bridge of Light (605 card / 705 poster)

Goddess Ostara (606 card / 706 poster)

Wayland the Smith (707 poster only)

Yggdrasil (608 card / 708 poster)

Viking Funeral (609 card / 709 poster)

Odin riding Sleipnir (610 card / 710 poster)

Viking Ships (611 card / 711 poster)

Celtic Princess (612 card / 712 poster)

Father Xmas (613 card only)

Tyr and the Fenris Wolf (720 poster only)

Viking Landing (626 card / 726 poster)

Viking Fleet (627 card only)

Third Century Angles (628 card only)

Ostara (723 poster only)

Odin's World (724 poster only)

Thor (725 poster only)

Heimdall & Asgard (717 poster only)

Heimdall & Bridge of Light (718 poster only)

Girl & Menhir (719 poster only)

Ragnarok (721 poster only)

The Pursuit of Sol & Mani (722 poster only)

Posters £3, Cards £7.50 for a selection of 12 (your choice). Postage £1 on orders under £5.

LEEK AND FLAX IN GERMANIC TRADITION

Steve Pollington

This article is adapted from an appendix to the author's forthcoming book 'Leechcraft - Early English Charms, Plants and Herbal Healing' ISBN 1-898281-23-8, publication early 2000.

Runes are not generally part of the Anglo-Saxon medical tradition, belonging magically to a more occult sphere of operations that that dealt with in the normally quite practical medical literature. However, the runic word laukaz occurs fairly frequently on its own in runic texts, especially on bracteates, thin, gold amulets based loosely on the design of Roman medallions; they often bear magic symbols, runic texts and depictions of mythological scenes. They were worn as neck ornaments by Germanic women, and may have been part of the funerary costume of certain distinguished members of society - distinguished members of society - their clear cultic significance may suggest the women who wore and used them were preistesses or cult leaders of some kind.

This word, laukaz which occurs in its early Norse form laukR, is also ancestral to the OE word leac 'leek, vegetable'. The earilest inscription in which the word is known to occur is on a paring knife from Flöksand, found within a woman's funerary urn and dating from c.350 AD. It bears the text linalaukazf which has been interpreted as 'linen (i.e. flax) + leek + prosperity'.

It has been suggested that laukaz is actually the original name of the rune * 'l' as one 8^th century text assigns it. The standard reconstructed name is *lagu 'water', but it should not surprise us that alternative traditions developed within societies seperated by thousands of miles and hundreds of years from the origin of the script. The early English re-named the rune * 'th' as 'thorn', due in part to its shape, though it had originally signified 'giant, elemental force'. Recurrent L-runes on other bracteates have been thought to be acrophonic abbreviations of the words lina and laukaz which seemingly had cultic significance. The preservative qualities of flax and leek have long been recognised, confirmed by evidence from the Icelandic Flateyiarbók tale of St. Ólaf, who was invited to take part in a ritual performed in a remote Norwegian farmhouse; the farmer's wife had a cult object - a volsi, the preserved penis of a horse - which had been desiccated, and wrapped with leeks and herbs in a linen cloth so that it would not rot. The rite involved passing the volsi around the congregation, each man reciting a stanza of verse as it reached him. One such stanza described the volsi as líni gæddr en laukum studdr 'enlarged with linen and steadied with leek' - a telling association of the two vegetables with an explicit fertitly cult. Another suggestive example of the emblematic use of leeks is from Norse Icelandic literature is in Flóamannasaga where a man dreams of vegetables growing from his knees, a presage of his future children. The runic bracteates commonly feature depictions of horses, goats and other fertility symbols. Some scholars have seen in these a pictorial reference to the mythical healing of Baldur's foal by Woden, which is alluded to in the OHG Second Merseburg Charm. This ritual episode has echoes as far back as the Sanskrit Rig Veda and certain Hittite rituals from the second millenium BC.

However, mere conservation may not be the whole answer to the question of the significance of flax and leek in the northern fertility cult. A linen head-cloth was apparently part of a bride's costume (e.g. as worn by Þórr in the story of the regaining of the hammer, Þrymskviða) while in Rigsþula it says of the new bride gekk hon und lini 'she went beneath the (bed) linen'. This theme is amplified in another poem where a husband accuses his wife of adultery at þit þioðrekr und þaki svæfið ok lettliga lini verðiz 'that you surrender yourself to Þioðrek beneath the covers and lay lightly clad in linen'. German brides put flax in their shoes to ensure prosperity, and the flax crop was encouraged in English country districts with midsummer fires and dances.

If flax is essentially a feminine plant, associated with weaving and cloth production, the bridal dress and the martial bed, then the leek is its masculine counterpart. The compound noun found in OE garleac, ON geirlaukr 'spear-leek', modern English garlic, suggests male associations (the spear and the spingle are trdaitionally the Germanic designations of masculinity and feminity respectively).

The physical shape of the leek may have commended it for this purpose, though *laukaz like its Old English derivative leac could probably signify any layered vegetable such as an onion. The evidence suggests that the leek was symbolic of the masculine generative forse of nature. A Norse tradition says that if a man draops particles of leek into his ale and scribes the N-rune * on the drinking-horn, he will not fall prey to a woman's deception: the leek is a protective plant for a man, probably specifically for his potency.

It seems that, like 'spear and spindle' in the Old English Tradition, 'linen and leek' was a runic formula meaning 'man and woman' and suggesting therefore both parts which go to make up the whole.

The illustration shows a gold bracteate from Skrydstrup, Denmark showing Woden with eagle and wolf companions. The stag to the right has the runic word ''laukaz' written above it (note the bind rune), and the aversion formula 'alu' in retrograde to the right of its chest. Two intertwined snakes complete the iconography of this scene.

The Lay of Thorgrimm Ragnarsson

Good it is to sit in mead-hall

Drink with liege-lord, thanes and shield-men,

Join with brothers and with sisters,

Talk of things that might have been.

Listen to the dwarves' crag's song wave,

Listen to the Havamal.

Rest you now from Odin's spear storm

Rest in gladness 'neath wind-weaver.

Comes the night wind, comes the moon chill

Fiery Surt's kin lights the night dark.

Dancing flame-light paints the sagas

Drink the dwarves' mead - Odin's ale.

Once the night-hag brought a story,

told of our lands ruled by troll wives.

Told of thundering iron dragons,

Screaming birds that pissed out poison,

Hurling carts that crushed our kinfolk,

Jutun-forges breathing air-death.

In this land that once knew beauty,

Born was I when birds dropped fire eggs.

Holm-garth burning, homestead falling,

Saved, was I by kinsfolk caring.

Londonburgh saw my growing,

Taught me fighting, loving, knowing.

Raised to manhood, served my Ruler,

Royal house-carl, shield defender.

Freed from service, sailed the swan's road,

Ship od iron sailed to Norway

To the land that once remember

Dragon ships and storm of weapons.

Wandered I, through fjord and mountain.

Came to Frankland and to Gothland.

Then to where we once sacked Luna;

Burnt it, thinking it was Rome.

Sold my sword and widely wandered

Sought gold-givers, shunned gift tardy.

Sailed to Iceland's reykj-ar-vik

Came to Iceland's smoking bay.

Came to Snorri's pool at Reykholt,

Came to Borg at Borganess

Came to Borg, but found not Egil,

Came a thousand years too late now.

Sought I then Varangian gleamings,

Sailed to Egypt, Crete and Nubia

Sailed the Middle-Earthan seas.

Along too long, I came to Bretland,

Then to Pictland, Peakland, Kernow

Peace, I found in Isles of Blessed.

Grasshopper I, once Earthstepper,

Way-worn Wanderer now Gangleri,

Home coming now to wife and strong sons,

Home to kinsfolk and to holm garth

Home to dreams of long ago when…

When Earth was clean and fresh and green.

Night hag brought no tale of torment.

I shall not wake from poisoned dream time.

Planes and trains and cars are real time.

Dragon ships and tears of Freyja,

Tyr-valiant men and battle maidens…

These are dreams of never -more-time.

THORSHOF HAMMER HALLOWING

A 'hammer hallowing' is used by most modern heathens to start a religious ceremony. It has several purposes, it marks and consecrates an area in which the ceremony will take place, and of course invokes one of the major heathen

deities. Hammer hallowings are also used in times of threat or insecurity to inspire confidence. The ritual requires a ceremonial hammer, either an amulet or a large ritual one, which should be raised in the centre of the ceremonial space for the second verse.

The poem is written for a gathering held in the home but can be easily adjusted for another location, or for solitary use, but remember that there should only be four syllables in each line. To give a more Norse feel to the poem swap Thunder for Asa Thor, Earth for Jord and Bear for Bjorn.

Hail to Thunder

faithful folk friend,

wise world warder,

Earth's famous son.

Great god riding

the vast sky's vault,

battle proved Bear

bedecked with stars.

As we hold high

this holy hammer,

let wicked wrights

and evil etins,

flee in terror

from the fiery fierce

searing splendour

of your god-strength.

Beloved hallower

of hall and hearth,

grant us your gift

and bless this home.

Let us have joy,

firm in friendship,

strong in spirit,

and true in troth.

Thorshof would welcome a move away from 'hammer hallowings' being automatically used for any heathen ceremony. All the main gods and goddesses deserve to be invoked to bless their worshippers sacred space. For example, if you are dedicated to Tyr or Frey, a plea for hallowing should be directed to them.

Thor dominates blessings and hallowings in the myths, sagas and surviving carvings simply because more North Scandinavians honoured him than any other deity.

WHAT IS A HEATHEN GOD?

Notes from a recent Thorshof Workshop

This is one of those difficult questions that people ask you from time to time. If you want to appear confident in your beliefs you need to be able to give an answer. I hope this article will help you to formulate your own view.

Please excuse the use of scholarly terms, it is very different to explain this subject in every day language.

This subject was raised at a debate held at Thorshof in August 1999…

The folk present were asked if they considered the Norse gods to be corporeal (having a physical form) or non-corporeal (having no physical form). Unexpectedly we all agreed on this point, but please bear in mind that there are

many answers to this question, and YOU are the only individual who can judge the correct answer for your own beliefs.

Everyone present saw the gods to be non-corporeal beings existing as cosmic energy. The gods were considered to be elements of the total cosmic force of the universe, and representing different aspects of nature. We all considered the gods to be beyond gender. Some deities especially Odin and Freyja were seen as epitomising the struggle to understand the whole cosmic force, but it was also agreed all the gods could act as spiritual guides for their devotees.

It was acknowledged that almost everyone feels more comfortable envisaging the gods as corporeal beings, (even if they believe them to be non-corporeal) and attributing them with human form and character. This humanised image of the god seems to be a merger of the worshipers conception of the deity, the worshippers ethics and the actual characteristics of the god itself. Those of us who had seen the deities saw them either in human form or as coloured energy. The gods are often accompanied by a warm and electrically charged presence, which felt like moving through water.

We all agreed that the symbols associated with the gods and goddess are powerful points of contact between the deity and the worshipper. It seems to be common for devotees to be aware of the symbol before even knowing the deity's name.

Please be aware that there is no right and wrong answer to this question, so don't worry if you don't agree with the Thorshof members. Here are some other possible explanations for gods, even if you don't accept these possibilities be aware that other folk may…

The spirits of dead mortals protecting the living.
Role models for attributes the devotees desire, e.g courage, honesty, and generosity for example. In this instance it is not important whether or not the deity exists, only that the worshipper strives to become that deity to the best of their ability.
Immortal humans with superhuman powers existing in another dimension.
Immortal humans with superhuman powers existing in this dimension, and maybe even living secretly among us.
An alien race with higher technology and telepathic abilities. Not necessarily humanoid or corporeal.

NOW WE HAVE GOT YOU THINKING, CONSIDER THE FOLLOWING:

Is it correct to say, that a god can be whatever it wants to be?
Do gods benefit from worship, if so how?
In heathen worship what is more important, the offering given to the deity or the act of offering itself?
If gods are non-human or even non-corporeal, are they concerned by ethics and moral conduct that purely concern humans, such as sexual customs and phobias?. Can you think of any examples of gods breaking human conventional behaviour in the myths?
Do gods have any interest in human race or gender?
What human ethics and laws would also apply to the gods?
If gods have partners as we understand them, how would immortality effect their relationships? Again what can we learn from the myths?
How would a god respond to being visualised with negative attributes?
How does the idea of the afterlife correspond with your understanding of the gods' nature?

9^th October 1999 12.00 noon for 1.00pm.

Practical workshop. Seithr magic, led by Einar of Frithmoot. To be held in the reconstructed hof.

16^th and 17^th October 1999 - Thorshof will be supporting the London Halloween Festivalas usual. Further details in next issue of Thunder.

23^rd October 1999 - Heathen Forum

The next Heathen Forum meeting is at the Bricklayers Arms, 31 Gresse Street, London W1 (near Tottenham Court Road Tube Station. 12.00 noon for a 1pm start. Due to finish 5pm,be out by 6pm.

30^th October 1999 Chiltern Kindred Ancestors Celebration – High Wycombe

The Chiltern Kindred are holding an open festival in honour of the ancestors, all are welcome to attend who come in frith. Please let us know if you are hoping to come to help us organise the day.

The ceremony is based on the tradition of 'beating the bounds' which in Christian times involved leading the community around the boundaries of the town and reciting prayers at boundary stones and trees.

We have developed this idea and rather than walking the boundaries of Wycombe (which is now huge!) we will be walking between the sites of historical interest. Ancient monuments are of great relevance to our respect for the ancestors.

The Chiltern Kindred will meet in the Finn Macculls Pub (just downhill from Wycombe Railway Station) between 12.00 noon and 1.00pm. We will be leaving at 1.00pm sharp. This is the plan of action:

Readings and offerings will be made at the following sites:

1: Anglo Saxon heathen burial site.

2: Wycombe Castle (mote and bailey).

(Catch bus to Wycombe Marsh from High Street and walk slowly back into town (about 2 miles))

3: The springs in the river Rye (site of Anglo-Saxon well worship).

4: Keep Hill Iron Age fort.

5: Waterfall in the town park.

6: Watermill.

7: Ruins of the Norman hospital

Break for 'refreshments'.

Take bus to Desborough..

8: Desborough Iron Age hill fort.

We will then walk (or catch the bus) back to Thorshof for the ancestors night ceremony and party. The emphasis of the ceremony will be on the turning of the year, our links to the ancestors and the perils of winter. Also, in honour of bloodmonth, the traditional time for animal sacrifice we will offer clay figurines of animals to the gods and goddesses and bury them beneath the floor of the hof.

20^th November 1999 – Godforming workshop at Thorshof, 12.00 noon for 1.00pm

'Godforming' involves adopting the personality of a deity.

12^th,13^th,14^th November 1999 Re-enactment Market

The essential venue for acquiring reproduction historical accessories, costume and affordable natural fabrics.

The Leisure Centre, Blackbird Leys Estate near Oxford. Regular buses run from outside the Railway Station.

Thorshof members will be attending on the Saturday by public transport if you want to join us.

11^th December 1999 Banner making at Thorshof, 12.00 noon for 1.00pm

Another opportunity to make banners or wall hangings. No textiles experience required but please check which materials you need with Thorskegga if you are not sure.

Midgard's Web/Thorshof Pub Moots for 2000

Thorshof are helping to organise central London pub moots next year which will take the place of every third Thorshof meeting. Rather than a monthly meeting, the moots will be held once a quarter in April, July, October and January. Though infrequent the moots will each boast several speakers, debates or activities, with ample chatting time, and will run from 1.00pm to 6.00pm on Saturday afternoons.

The acting pub moot organiser is Hrimalf (with Thorunn and Thorskegga as diligent assistants) ideas for activities and talks are most welcome.

WEBSITE AND E-MAIL ADDRESS

Please note Thorshof has new web site and e-mail addresses! The old address are still in use now but may be abandoned in due course.

www.thorshof.org

skegga@thorshof.org

SUBSCRIPTIONS & SUBMISSIONS

United Kingdom: Thorskegga Thorn, Thorshof, 106 Oakridge Road, High Wycombe,

Bucks, HP11 2PL. UK Subscription is £3 for four issues. Please make

cheques payable to 'Thorskegga Thorn'. Thunder is also available on the WWW at

www.thorshof.org or search for 'Thorshof'.

Thorshof can be contacted by e-mail on skegga@thorshof.org

Other countries please write for details.

All artwork in this issue is by Jim Kirkwood and Thorskegga Thorn and under their copyright. This issue was produced on StarOffice 5.0.

Back to the Thorshof homepage

THUNDER ISSUE 12 AUTUMN 1999

9th October 1999 12.00 noon for 1.00pm.

9^th October 1999 12.00 noon for 1.00pm.