As told in the old Eddic poetry “Völuspá,” also known as “The Insight of the Seeress,” the Norse creation myth opens with the wide, empty space known as Ginnungagap. This first nothingness, between the worlds of Muspelheim, the region of fire, and Niflheim, the land of ice, was marked by a deep silence and an unbreakable blackness. “There was no sand, nor sea, nor cool waves, nor earth nor sky, nor grass there, only Ginnungagap” during this nonexistent era.

The universe was meant to rise from the depths of Ginnungagap, and after the apocalyptic events of Ragnarok, the universe would withdraw to this very abyss, sinking into the nothingness once more. The mixing of elements from the opposing realms of Niflheim and Muspelheim signified the beginning of creation. Inside Ginnungagap, the bitter cold of Niflheim collided with the intense heat of Muspelheim to create the first sentient creature, Ymir, a massive frost ogre known as “Screamer.”

Ymir

Ymir was a godlike being with the unusual capacity for asexual reproduction. The appearance of additional giants from his legs and the perspiration from his armpits were indicators of the origin of the frost ogres. Simultaneously, the ice melted and gave birth to Audhumla, a nursing cow that gave Ymir milk. By licking the briny ice pieces, Audhumla herself gained nourishment and, in due course, revealed Buri, the towering, muscular, and attractive progenitor of the Aesir gods.

Buri produced a son named Bor, who married the giantess Bestla. Odin, the future chief of the Aesir gods, and his brothers Vili and Ve were born out of this mating. The story then moves to the crucial scene where Odin and his siblings kill Ymir. The killing of Ymir caused a flood of blood that drowned all but two of the frost ogres, Bergelmir and his wife, who managed to escape by hiding behind a lur. The couple’s successful escape guaranteed the Jotnar, or frost ogre, lineage in Jotunheim.

Ymir’s death was a process of transformation as much as an end. His flesh formed the world, his hair the trees, his bones the mountains, and his blood the oceans and lakes. In addition, the maggots that surfaced in Ymir’s flesh were given a shape and a function, developing into dwarves. With their names aligned with the cardinal directions, the dwarves, now fashioned from Ymir’s skull and carried aloft by Odin and his brothers, stood at the four corners of the sky.

Another use for the ruins of Muspelheim was to illuminate the sky and the ground below with embers that had dropped into Ginnungagap. The world was surrounded by a deep sea, and the coastline districts were declared to be enormous territories. But in order to protect themselves from the giants, Odin and his brothers defended Midgard, an inland stronghold made from Ymir’s eyebrows.

The creation myth is further developed when we learn that the first humans were fashioned from trees that were discovered along the coast. They had been given soul and life by Odin, movement and knowledge by Vili, and clothes and names by Ve. Thus were formed Ask and Embla, the progenitors of all people who would one day inhabit Midgard.

The gods built Asgard, a powerful stronghold, in the middle of the earth, along with Valaskjalf, a magnificent hall that housed Hlidskjalf, Odin’s high seat. Odin could view the whole globe from this position.

Conflict

Norse mythology frequently features conflict, and the genesis tale is no exception. Such confrontation, between fire and ice, is what gives rise to the universe itself, and the act of killing creates life as a result. The gods’, especially Odin’s, killing of Ymir suggests that struggle and sacrifice are necessary for life and that there is a certain dignity in such deeds. This viewpoint is in line with the warrior spirit of Norse society, which saw battle and bloodshed as legitimate—even noble—in the right situations.

The idea that life will return to the abyss during Ragnarok and rise again from the ashes is a clear example of the cyclical nature of Norse cosmology. This moving story perfectly captures the Norse conception of the cosmos, which is a complicated web of creation, destruction, and rebirth in which even the gods take part in the never-ending cycle of life and death.

Further Reading

Lindow, J. (2001). Norse Mythology: A Guide to the Gods, Heroes, Rituals, and Beliefs. Oxford: Oxford University Press.

John Lindow is a respected scholar in Scandinavian medieval studies, and his work provides a comprehensive overview of Norse mythology. The book serves as an excellent reference guide, offering detailed entries on numerous aspects of Norse myths, from major deities to lesser-known figures. Lindow’s writing is accessible, making it suitable for both newcomers to the subject and those with more advanced knowledge.

Further Reading

Davidson, H. R. Ellis. (1964). Gods and Myths of Northern Europe. London: Penguin Books.

H.R. Ellis Davidson is a prominent figure in the study of ancient Scandinavian religion and mythology, and this book is considered a classic in the field. The text explores the deities, myths, and religious practices of the Norse and other Germanic peoples in a historical and cultural context. Davidson’s work is particularly useful for anyone interested in the influence of Norse mythology on European history and culture.

Sturluson, S., & Faulkes, A. (Translator). (1995). Edda. London: Everyman’s Library.

The Icelandic historian and poet Snorri Sturluson’s “Edda,” which he wrote in the 13th century, is a primary source for much of what is known about Norse mythology. Anthony Faulkes’ translation of the Old Norse text into contemporary English is well-regarded for its accuracy and clarity. It includes both the Prose Edda and the Poetic Edda, offering a comprehensive look at the original tales and poems that form the basis of Norse mythological tradition.