LIBRARY
Varg Vikernes
"Reflections on European Mythology and Polytheism" 2015
Buy this book:
The Line & the Circle
The Abrahamic religions all have a mythology with a beginning for the world, and an end for it as well, and for some reason having a creation myth was for 200 years ago seen as evidence supporting the idea that a mythology was advanced and almost equal to the bible. When the Scandinavians in the beginning of the XIXth century started for real to read and interpret the Scandinavian mythology they had this in mind. They wanted Scandinavia too to have been «advanced» in Antiquity! They actively searched for a creation myth, and intentionally interpreted the myths to sound like creation myths. The same was the case for an end to the world; they wanted an Armageddon to be found in the Scandinavian mythology as well, and that is what they turned Ragnarök into.
This is one of the major mistakes most do when they read the Scandinavian mythology; they assume that some of the myths are creation myths. Let me give you a few examples; in Völuspâ stanza 2 to 5 there is a description interpreted as being the creation myth of the worlds of men and gods; in Völuspâ stanza 17 & 18 there is a description interpreted as being about how the gods give good colour, language, mind and life to two pieces of wood lying on the ground, and this is seen as the Scandinavian creation myth of man. In Völuspâ stanza 42 to 58 there is a description interpreted as being a description of the end of the world, Ragnarök, the Scandinavian Armageddon!
In reality there is a very poor general understanding of these myths in our world, because of the Judeo-Christian filters everything has been seen through. If you want to see the stars you better not try to see them through a thick layer of dark clouds.
The fact is that the Scandinavian mythology has no creation myth of that type. There is no linear world view, no beginning and no end. Instead there is a very circular world view, of eternally repeating processes in life and in nature in general, the Sun rises, shines, sets and is gone, and then it rises again. The seasons come, they are, they go away and they are gone, before they return. This myth of eternal return was (in modern times re-) discovered by Sir James Frazer, who of course was no Judeo-Christian himself, but has since then mostly been discredited as unscientific and his book «worthless». This myth of eternal return explains just about every process in our universe, and applies even to planets, solar systems, galaxies and probably the whole universe as well. There is no beginning and no end. No «big bang», no «big crunch», no linear time. No beginning or end to anything; not to time and not even to the universe itself.
The human mind is able to understand eternity, but not to really fathom it. This might be some sort of «cosmic censorship», but more likely it is a result of the mixing between Neanderthals (Europeans) and Homo sapiens (Africans). The Neanderthals probably understood and fathomed eternity well, but Homo sapiens did not, and not those mixed with Homo sapiens either. Even the biggest brains of modern man, the European brains, are much smaller than the average Neanderthal brain.
Judeo-Christianity is a religion by and for mixed men, but the European mythology was made by Europeans (Neanderthals) or it was based on their insight, so the first sees life as linear and the latter as moving in circles. One see only birth, life and death, and tremble in fear for what might come after this. The other see eternity.
The Scandinavian myths mentioned above are not at all creation myths or myths about the end of the world. Völuspâ stanza 2 to 5 deal with how the burial mound was opened up after a fast, and how the initiate was to leave the daylight outside and enter the dark realm where no Sunlight, Moonlight or stars shone. They blew a lure to open up the gate in the fence surrounding the burial mound, they slaughtered a cow and went to learn the secrets from Hel - in the grave. There is no creation in this myth.
Völuspâ stanza 17 & 18 describe how the actors who had played the role of the Winter spirits in Ragnarök, by impersonating predatory animals, in particular the wolf, were brought back to the sacrificial trees, the ash and the elm, by the gods (i.e. human beings impersonating the deities). To become Winter Spirits they had hung their own cloths (a symbol of their life force) in the sacrificial tree; naked they went to put on (mainly) wolf or bear skins and thus assume the role of Winter spirits in a great play, a mock battle between the Summer and the Winter. During this battle the (actors playing the) Summer spirits tore their animal skins off them and stepped on them (i.e. played the role of Vîðarr in Ragnarök ripping the Fenrir wolf in two), to symbolically kill them. The actors played dead and were ceremonially carried back to the sacrificial trees, where the deities put back on their clothes and brought them back from the dead; gave them good colours, spirit, a language and life again. There is no creation in this myth either.
Völuspâ stanza 42 to 58 is another description (there are several in Völuspâ) of the great mock battle between Summer and Winter, taking place on what for us today is called New Year's Eve. They made a lot of noise, they burned wheels and let them roll down steep hills, throwing sparks about as they did, they ran through the forest wielding burning torches, to scare and chase away all the Winter spirits, and they divided into two groups; one assuming the role of the Summer spirits, and the other assuming the role of Winter spirits. They then - in a theatrical performance - had their biggest annual sword dance, where they showed how the Summer spirits killed the Winter spirits, and how this was what enabled Summer to return. They killed the Winter spirits, so that Summer could return. And they did this every single year. Ragnarök was not the end of the world, or the end of anything at all really, only a renewal of everything.
You can find a more thorough explanation to these myths in my book «Sorcery and Religion in Ancient Scandinavia».
So there are no creation myths and no Armageddon in the Scandinavian mythology. There is no beginning and no end.
The cycle of life continues for all the powers in this world, as it always has and as it always will - and we will probably for quite some time still wonder how this is possible.
To ever be able to understand eternity we must stop all degradation of us, of our blood, and we must ensure a positive eugenic society for Europe. Only through active cultivation of the fair Nordic (Neanderthal) genes in us will we ever find all the answers to the secrets of the universe.
This is one of the major mistakes most do when they read the Scandinavian mythology; they assume that some of the myths are creation myths. Let me give you a few examples; in Völuspâ stanza 2 to 5 there is a description interpreted as being the creation myth of the worlds of men and gods; in Völuspâ stanza 17 & 18 there is a description interpreted as being about how the gods give good colour, language, mind and life to two pieces of wood lying on the ground, and this is seen as the Scandinavian creation myth of man. In Völuspâ stanza 42 to 58 there is a description interpreted as being a description of the end of the world, Ragnarök, the Scandinavian Armageddon!
In reality there is a very poor general understanding of these myths in our world, because of the Judeo-Christian filters everything has been seen through. If you want to see the stars you better not try to see them through a thick layer of dark clouds.
The fact is that the Scandinavian mythology has no creation myth of that type. There is no linear world view, no beginning and no end. Instead there is a very circular world view, of eternally repeating processes in life and in nature in general, the Sun rises, shines, sets and is gone, and then it rises again. The seasons come, they are, they go away and they are gone, before they return. This myth of eternal return was (in modern times re-) discovered by Sir James Frazer, who of course was no Judeo-Christian himself, but has since then mostly been discredited as unscientific and his book «worthless». This myth of eternal return explains just about every process in our universe, and applies even to planets, solar systems, galaxies and probably the whole universe as well. There is no beginning and no end. No «big bang», no «big crunch», no linear time. No beginning or end to anything; not to time and not even to the universe itself.
The human mind is able to understand eternity, but not to really fathom it. This might be some sort of «cosmic censorship», but more likely it is a result of the mixing between Neanderthals (Europeans) and Homo sapiens (Africans). The Neanderthals probably understood and fathomed eternity well, but Homo sapiens did not, and not those mixed with Homo sapiens either. Even the biggest brains of modern man, the European brains, are much smaller than the average Neanderthal brain.
Judeo-Christianity is a religion by and for mixed men, but the European mythology was made by Europeans (Neanderthals) or it was based on their insight, so the first sees life as linear and the latter as moving in circles. One see only birth, life and death, and tremble in fear for what might come after this. The other see eternity.
The Scandinavian myths mentioned above are not at all creation myths or myths about the end of the world. Völuspâ stanza 2 to 5 deal with how the burial mound was opened up after a fast, and how the initiate was to leave the daylight outside and enter the dark realm where no Sunlight, Moonlight or stars shone. They blew a lure to open up the gate in the fence surrounding the burial mound, they slaughtered a cow and went to learn the secrets from Hel - in the grave. There is no creation in this myth.
Völuspâ stanza 17 & 18 describe how the actors who had played the role of the Winter spirits in Ragnarök, by impersonating predatory animals, in particular the wolf, were brought back to the sacrificial trees, the ash and the elm, by the gods (i.e. human beings impersonating the deities). To become Winter Spirits they had hung their own cloths (a symbol of their life force) in the sacrificial tree; naked they went to put on (mainly) wolf or bear skins and thus assume the role of Winter spirits in a great play, a mock battle between the Summer and the Winter. During this battle the (actors playing the) Summer spirits tore their animal skins off them and stepped on them (i.e. played the role of Vîðarr in Ragnarök ripping the Fenrir wolf in two), to symbolically kill them. The actors played dead and were ceremonially carried back to the sacrificial trees, where the deities put back on their clothes and brought them back from the dead; gave them good colours, spirit, a language and life again. There is no creation in this myth either.
Völuspâ stanza 42 to 58 is another description (there are several in Völuspâ) of the great mock battle between Summer and Winter, taking place on what for us today is called New Year's Eve. They made a lot of noise, they burned wheels and let them roll down steep hills, throwing sparks about as they did, they ran through the forest wielding burning torches, to scare and chase away all the Winter spirits, and they divided into two groups; one assuming the role of the Summer spirits, and the other assuming the role of Winter spirits. They then - in a theatrical performance - had their biggest annual sword dance, where they showed how the Summer spirits killed the Winter spirits, and how this was what enabled Summer to return. They killed the Winter spirits, so that Summer could return. And they did this every single year. Ragnarök was not the end of the world, or the end of anything at all really, only a renewal of everything.
You can find a more thorough explanation to these myths in my book «Sorcery and Religion in Ancient Scandinavia».
So there are no creation myths and no Armageddon in the Scandinavian mythology. There is no beginning and no end.
The cycle of life continues for all the powers in this world, as it always has and as it always will - and we will probably for quite some time still wonder how this is possible.
To ever be able to understand eternity we must stop all degradation of us, of our blood, and we must ensure a positive eugenic society for Europe. Only through active cultivation of the fair Nordic (Neanderthal) genes in us will we ever find all the answers to the secrets of the universe.
Varg Vikernes
TABLE OF CONTENTS