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Loki

Loki is a complex and ambivalent deity in Norse mythology, often depicted as a cunning trickster god who embodies mischief, deception, and boundary-crossing chaos, serving both as an ally and antagonist to the Aesir gods while ultimately contributing to their downfall at Ragnarok.^[1]^[2] Born to the jötunn Fárbauti and Laufey (also known as Nál), Loki is a jötunn by descent but becomes a blood brother to Odin, integrating into the Aesir pantheon through this sworn bond, which underscores his liminal status between divine order and chaotic wilderness.^[2] His name may derive from Old Norse roots meaning "knot" or "tangle," symbolizing his role in complicating situations through schemes and entanglements, as suggested by linguistic analyses linking it to concepts of nets and entrapment. Loki's shape-shifting prowess allows him to assume various forms, including animals and females, enabling feats like transforming into a mare to birth Odin's eight-legged horse Sleipnir or a salmon to evade capture.^[1]^[2] In myths preserved in the Poetic Edda and Prose Edda, Loki frequently aids the gods in adventures, such as retrieving Thor's stolen hammer Mjölnir or recovering the goddess Idun and her youth-granting apples from the giant Thiazi, yet his actions often stem from self-interest and lead to unintended consequences.^[2] He fathers monstrous offspring with the giantess Angrboða, including the serpent Jörmungandr, the wolf Fenrir, and the goddess Hel, who collectively threaten the cosmic order and are confined by the gods as precautions.^[2] Loki's most notorious deed is orchestrating the death of the beloved god Baldr by tricking the blind god Höðr into hurling a mistletoe dart, an act of malice that precipitates his punishment: binding him in a cave with his son Narfi's entrails, where a serpent drips venom onto him, causing earthquakes until Ragnarok.^[3]^[2] Scholarly interpretations portray Loki as a quintessential trickster archetype, challenging societal norms and divine hierarchies through irreverence and subversion, with no evidence of dedicated worship among the Norse due to his opposition to values like honor and stability.^[1]^[2] In the apocalyptic Ragnarok, Loki breaks free to lead the forces of chaos against the gods, captaining the ship Naglfar made from dead men's nails and slaying Heimdall in mutual combat before perishing himself, symbolizing the inevitable disruption of order by transformative disorder.^[3]^[2] This duality—creator of both divine treasures like Thor's hammer and harbingers of doom—highlights Loki's enduring role as a catalyst for change in the Norse cosmological narrative.^[1]

Name and Etymology

Linguistic Origins

The name Loki derives from Old Norse Loki, which scholars trace to the Proto-Germanic root *luką, meaning "lock" or "to close," reflecting concepts of binding, entanglement, and restriction that align with the figure's association with trickery and knots in mythological contexts.^[4] This root is connected to Old Norse verbs such as loka and lúka, both meaning "to close," "to lock," or "to end," suggesting an implication of finality or enclosure.^[5] Additionally, loki in Old Norse denotes a "loop on a thread" or "knot," further emphasizing themes of tangling and complication.^[5] Linguistically, this Proto-Germanic form evolves from the Proto-Indo-European root *lewgʰ- ("to bend, wind, or turn"), which underlies words for mechanisms of closure across Germanic languages, such as English "lock" and German "Loch" (hole or opening).^[4] Possible cognates include Old Norse lok ("cover," "lid," or "end"), reinforcing the notion of Loki as a "closer" in etymological terms, potentially symbolizing one who binds or concludes events.^[5] Scholarly debates center on whether this implies a restrictive "closer" role or, conversely, an "opener" through the dual nature of locks as both barriers and access points, though the former interpretation predominates in analyses of trickster bindings.^[6] A rival etymology links Loki to Old Norse logi ("flame" or "blaze"), from Proto-Germanic *lugô and ultimately Proto-Indo-European *leuk- ("bright, light"), positing connections to fire and chaotic destruction; however, this is widely regarded as a folk etymology due to phonological mismatches, such as the unexplained medial -k-.^[7] The name's evolution appears in medieval Icelandic texts like the Poetic Edda (compiled ca. 13th century), where it is spelled consistently as Loki, but its Proto-Germanic antecedents likely predate written records, with no direct attestations in earlier runic inscriptions, though related terms for locks and knots occur in Germanic artifacts from the Migration Period (ca. 4th–6th centuries).^[5] This progression from abstract roots of enclosure to a proper noun underscores Loki's linguistic ties to motifs of chaos through entanglement rather than overt fiery attributes. Alternate names like Loptr, possibly meaning "air" or "lofty one," appear sporadically but stem from separate derivations.

Variants and Epithets

In Norse mythological texts, Loki is known by several variant names and epithets that reflect his multifaceted role and attributes, often appearing in the Poetic Edda and Prose Edda. One prominent variant is Loptr, meaning "air" or "lofty one," which underscores Loki's elusive and aerial qualities; this name appears in the Prose Edda, such as in Skáldskaparmál where it is used in contexts of trickery and deception, like "Lopt was proficient at lying."^[8] Similarly, Hveðrungr, interpreted as "weather-changer" or "roarer," serves as an epithet highlighting Loki's chaotic influence, particularly in Gylfaginning where it denotes his giant heritage and connection to Fenrir.^[8] Epithets tied to Loki's transformative abilities include "shape-shifter," derived from his frequent changes in form—such as into a salmon, mare, or fly—narrated in myths like those in Gylfaginning and Skáldskaparmál, emphasizing his role in facilitating divine exploits through deception.^[8] Another is "sky-walker," a kenning evoking his ability to traverse realms, as seen in the Poetic Edda's Lokasenna where Loki's lofty, mediating presence between earth and heavens is implied through his agile interventions.^[9] These titles often appear in skaldic poetry as heiti, poetic synonyms that poets used to vary expressions while adhering to alliterative meters. Contextual usages further illuminate Loki's nomenclature, such as Loki Laufeyjarson, a patronymic denoting his motherhood from the giantess Laufey (also called Nál, "needle"), which appears in both Eddas to stress his jötunn origins amid Æsir interactions, as in accounts of Baldr's death.^[8] Names like Nari and Narfi, while primarily referring to Loki's sons with Sigyn—whose entrails bind him in punishment—occasionally echo in variant manuscripts as associated identifiers, blending familial and personal motifs in his chaotic lineage.^[8] The evolution of these names across manuscripts reveals interpretive nuances; for instance, in the Codex Regius of the Poetic Edda (c. 1270s), spellings like Hveðrungr vary slightly from the Prose Edda's AM 748 I 4to (c. 1300s), potentially influencing views of Loki as a liminal figure between god and giant, with Loptr emphasizing his ethereal detachment in later skaldic citations.^[9] Such variations, preserved in Icelandic codices, suggest scribes adapted epithets to fit evolving poetic or theological emphases without altering core mythological implications.^[8]

Characteristics in Norse Mythology

Physical Depiction

In the Prose Edda, Loki is portrayed as a handsome and comely figure in his humanoid form, emphasizing his deceptive allure that facilitates his interactions among the gods.^[10] This depiction contrasts sharply with his shape-shifting abilities, where he assumes various animal guises—such as a mare to lure and distract adversaries, a fly to harass or infiltrate confined spaces, and a salmon to evade capture by hiding in natural waters—each transformation serving a narrative function of cunning deception or strategic escape within mythological tales.^[11] These shifts highlight Loki's fluid, boundary-crossing nature, often turning his body into a tool for survival or mischief rather than a fixed identity.^[2] Medieval Norse iconography further underscores Loki's multifaceted forms through symbolic carvings, such as the bound posture on the Gosforth Cross (c. 930 CE) in Cumbria, England, where he appears restrained by his son's entrails with a serpent poised above, dripping venom, and his wife Sigyn catching the poison in a bowl.^[12] Similar elements appear on the Snaptun Stone (c. 1000 CE) from Denmark, depicting a figure with sewn-shut lips, alluding to Loki's silenced mouth after a binding episode.^[11] These representations emphasize themes of restraint and torment, portraying Loki in a vulnerable, monstrous state that symbolizes chaos subdued. Despite these motifs, Norse sources provide no uniform physical canon for Loki, resulting in interpretive variations across surviving artifacts and texts; for instance, while textual accounts focus on his comeliness, carvings often prioritize his punished or altered states without consistent details like hair color or build.^[11] This scarcity fosters diverse artistic renderings, from humanoid tricksters to hybrid beasts, reflecting the oral tradition's emphasis on action over static appearance.^[13]

Personality and Roles

Loki is characterized in Norse mythology as a cunning and mischievous figure, often displaying unreliability and a penchant for deception that serves his own interests above all. These traits manifest in his scheming nature, where he employs wit and shape-shifting to navigate conflicts, sometimes aiding the gods through clever interventions while frequently sowing discord for amusement or gain.^[9] Despite his volatility, Loki occasionally proves helpful, as seen in his role in resolving crises that threaten the divine order, underscoring his dual capacity for both malice and utility.^[2] As a boundary-crosser, Loki embodies liminality, traversing the divides between gods and giants, order and chaos, and even gender through his metamorphic abilities, thereby challenging the rigid structures of Norse cosmology. He is associated with fire, interpreted by scholars as a symbol of uncontrolled destruction and transformation, evoking his role in tales involving incendiary events. Additionally, Loki functions as an inventor, credited with devising practical tools such as the fishing net, which highlights his ingenuity in turning chaos into utility for the gods.^[9]^[2] Loki's morality remains profoundly ambiguous, positioning him as an ally in heroic quests yet the instigator of catastrophic conflicts, such as the events leading to Baldr's death, where his actions precipitate broader downfall. This duality reflects his amoral rather than outright evil disposition, driven by self-preservation and irreverence toward divine norms. Symbolically, Loki serves as a necessary disruptor in Norse cosmology, embodying the tensions between stability and inevitable change, much like the Ragnarok he helps usher in, ensuring cosmic renewal through disruption. His giant kinship ties further accentuate this outsider role, fueling his unpredictable alliances.^[9]^[2]

Family and Associations

Kinship Ties

In Norse mythology, Loki is identified as the son of the giant Fárbauti and Laufey, also known as Nál, establishing his jötunn (giant) heritage.^[14] This parentage is referenced in the Prose Edda, where Loki is called "Loki Laufeyarson," and echoed in the Poetic Edda, particularly in the poem Lokasenna, which describes him as Laufey's son.^[15] His father, Fárbauti, meaning "cruel striker," underscores Loki's giant lineage, while his mother Laufey, possibly an áss (goddess), introduces ambiguity to his origins.^[14] Loki's consorts include the giantess Angrboða, with whom he fathers several monstrous offspring, and Sigyn, his wife.^[14] Angrboða, whose name means "the one who brings grief," is described in the Prose Edda as residing in Jötunheim and bearing Loki's children Fenrir (the wolf), Jörmungandr (the Midgard Serpent), and Hel (ruler of the underworld).^[14] Sigyn is noted as the mother of Loki's sons Nari (or Narfi) and possibly Váli, though details on Váli's parentage vary.^[14] Additionally, in a shape-shifted form as a mare, Loki mates with the stallion Svadilfari, resulting in the birth of Sleipnir, the eight-legged horse later given to Odin.^[14] Loki's full progeny encompasses both divine and monstrous figures, reflecting his dual nature. Besides Fenrir, Jörmungandr, Hel, and Sleipnir, he is the father of Nari/Narfi with Sigyn.^[14] He also has two brothers, Byleistr and Helblindi, further tying him to giant kinship.^[14] Despite this jötunn background, Loki is adopted among the Æsir gods, residing in Asgard and forming a blood-brother bond with Odin, which integrates him into the divine family without erasing his outsider roots.^[14]

Relationships with Gods

Loki's closest alliance among the Æsir is his blood-brotherhood with Odin, a bond that integrates him into the divine community despite his jötunn origins. This oath, symbolizing shared fate and mutual loyalty, positions Loki as a companion to Odin in various exploits, though it does not prevent later conflicts.^[16] Scholarly analysis highlights this relationship as foundational to Loki's ambiguous status, blending camaraderie with underlying tension.^[17] Loki frequently aids Thor in adventures, demonstrating loyalty amid his trickster nature. In one notable instance, when the giant Thrymr steals Thor's hammer Mjölnir, Loki accompanies Thor—disguised as Freyja—to retrieve it, using cunning to outwit the thief and restore the weapon to Asgard.^[18] This collaboration underscores moments of reconciliation and mutual dependence between Loki and the Æsir, even as his deceptions often complicate alliances. However, Loki's relationships are marked by profound betrayals that escalate tensions with the gods. His orchestration of Baldr's death—by tricking the blind Höðr into hurling a mistletoe dart—shatters the Æsir's harmony and precipitates his downfall, viewed as an act of malice against the divine order.^[16] In the Lokasenna, Loki's public insults against the assembled gods further strain these bonds, exposing grievances and leading to his capture and binding as punishment by the Æsir, who chain him with his son Narfi's entrails beneath a serpent's venom.^[19] As Odin's counterpart, Loki embodies a darker facet of cunning and wisdom, complementing rather than mirroring the Allfather's strategic intellect. Both figures excel in métic intelligence—resourceful deception and foresight—but Loki's amoral application contrasts Odin's sovereign authority, reflecting a duality in Norse divine trickery.^[17] This parallel highlights Loki's role as both ally and antagonist within the Æsir pantheon.

Key Myths and Narratives

Trickster Exploits

Loki's trickster exploits in Norse mythology often involve shape-shifting, deception, and clever interventions that both harm and aid the gods, as detailed in the Prose Edda. One prominent example is his role in the theft of Idunn's apples, which grant the Æsir eternal youth. While traveling with Odin and Hœnir, Loki offended the giant Thjazi, disguised as an eagle, who captured him and demanded he lure Idunn and her apples from Ásgard.^[20] Loki complied by tricking Idunn into leaving the stronghold with claims of superior apples in a nearby wood, allowing Thjazi to abduct her in eagle form to his hall at Thrymheimr.^[20] The gods, aging rapidly without the apples, threatened Loki with death unless he rescued her; borrowing Freyja's falcon cloak, he transformed Idunn into a nut for transport, flew her back, and the pursuing Thjazi perished in a fire lit by the Æsir at Ásgard's walls.^[20] Another exploit centers on Loki's wager with the dwarfs Brokkr and Sindri, showcasing his interference in divine craftsmanship. After the dwarfs Ívaldi's sons forged golden hair for Sif, Odin's spear Gungnir, and Freyr's ship Skíðblaðnir to appease Thor's rage over Sif's shorn locks, Loki boasted he could oversee better creations and bet his head against Brokkr's neck.^[21] Sindri forged three treasures while Brokkr worked the bellows: a golden boar Gullinbursti for Freyr that glowed and ran faster than any horse; the ring Draupnir for Odin, which multiplied eightfold every ninth night; and Thor's hammer Mjöllnir, with a short handle but immense power to level mountains and never miss its target.^[21] Loki, shape-shifted into a fly, bit the dwarfs to disrupt the forging—stinging Brokkr's eye during Mjöllnir's making, causing the handle's flaw—but the Æsir judged the hammer superior, winning the wager.^[21] In retribution, Brokkr sewed Loki's lips shut with a leather thong called Vartari, silencing his taunts temporarily.^[21] In the poem Thrymskvida from the Poetic Edda, Loki assists Thor in recovering the stolen hammer Mjölnir from the giant Thrym, who demands Freyja as his bride in exchange. Loki accompanies Thor to Thrym's hall, with Thor disguised as Freyja and Loki as her maidservant. Through quick deception to explain Thor's unladylike behavior—such as his voracious appetite and fiery eyes—Loki maintains the ruse long enough for Thor to seize the hammer upon its presentation and slay Thrym and his kin.^[22] Loki's transformation into a mare exemplifies his shape-shifting prowess to avert disaster for the gods. When a giant builder, aided by his stallion Svadilfari, nearly completed Ásgard's walls in one winter—demanding Freyja, the sun, and the moon as payment—Loki, fearing the gods' fury, shifted into a mare to lure Svadilfari away during a critical night, delaying the work past the deadline.^[16] The gods refused the payment, and Thor slew the builder in rage. Later, Loki gave birth to an eight-legged gray colt named Sleipnir, the swiftest horse in existence, which Odin claimed as his steed, capable of traversing land, sea, and sky.^[16] In the binding of Fenrir, Loki's offspring plays a central role, highlighting the god's indirect involvement in the gods' defensive measures. The monstrous wolf Fenrir, son of Loki and the giantess Angrboða, grew alarmingly strong, prompting the Æsir to bind him after prophecies foretold his threat.^[16] Initial chains, Læding and Dromi, snapped easily during tests of strength. The dwarfs then forged Gleipnir, a deceptively soft fetter made from impossible elements: the sound of a cat's footfall, a woman's beard, mountain roots, bear sinews, fish breath, and bird spittle.^[16] Suspicious, Fenrir agreed to the binding only if a god placed a hand in his mouth as pledge; Tyr volunteered, losing his hand when Fenrir realized the trick and bit down as the gods secured him by thrusting a sword into his mouth to keep his jaws apart and passing a cord called Gelgja through a hole in the rock Gjöll, with the other end fixed to the stone Thviti deep in the earth.^[16] Fenrir remains bound until Ragnarök, foaming rivers from his jaws.^[16]

Involvement in Major Events

Loki's most notorious act of malice was his orchestration of the death of the god Baldr, a pivotal event that precipitated widespread mourning among the gods and foreshadowed the doom of Ragnarök. After Frigg extracted oaths from all things not to harm Baldr, Loki discovered that mistletoe had been overlooked and fashioned it into a dart, which he guided the blind god Höðr to throw, fatally wounding Baldr.^[16] Baldr's subsequent journey to the underworld realm of Hel, where Loki further thwarted efforts to retrieve him, deepened the gods' grief and marked a turning point toward cosmic decline.^[16] As retribution for his role in Baldr's demise, the gods captured Loki and bound him beneath the earth using the entrails of his son Narfi, transformed into fetters after the boy's murder by another son, Váli.^[16] Skadi, the goddess of hunting, positioned a venom-dripping serpent above his face, causing Loki excruciating pain whenever the drops fell upon him; his wife Sigyn remained loyally at his side, catching the poison in a bowl but occasionally stepping away to empty it, leading to Loki's convulsions that shook the earth.^[16] This punishment confined Loki until the onset of Ragnarök, when the bonds would break.^[16] In the prophetic visions of Ragnarök detailed in ancient lore, Loki emerges as a central antagonist, freed from his bonds to lead the forces of chaos against the gods.^[16] The ship Naglfar, crewed by dead men and steered by the giant Hrymr, brings the giants to the fray on Vigrid plain, where he mortally wounds the watchful god Heimdallr in mutual combat, though Loki himself perishes in the battle.^[16] The Völuspá foretells these cataclysms, including Loki's liberation and the unleashing of his kin like Fenrir, whose rampage contributes to the gods' downfall amid fire, flood, and familial strife.^[23] The seeress's prophecy in the Völuspá extends beyond destruction to envision a renewed world rising from the ashes, purified and repopulated, though Loki's direct involvement ceases with his death, underscoring his role as a catalyst for both apocalypse and implicit renewal.^[23]

Primary Textual Sources

Poetic Edda References

In the Poetic Edda, Loki emerges as a multifaceted trickster figure whose actions propel key mythological events, particularly in poems that blend mischief with prophetic undertones. The collection, a compilation of Old Norse poems from the 13th century preserving earlier oral traditions, portrays Loki through verse that emphasizes his cunning, antagonism, and role in divine conflicts. Loki's involvement in Ragnarök is foreshadowed in Völuspá, the seeress's prophecy that outlines the world's creation, destruction, and renewal. Here, he is depicted as the instigator of the cataclysm, breaking free from his bonds to lead chaotic forces against the gods; specifically, stanzas 32–35 describe his orchestration of Baldr's death by guiding the blind Höðr to hurl mistletoe, an act that unleashes grief and sets the stage for apocalyptic doom, while stanza 51 alludes to his release heralding the final battle where he clashes with Heimdallr.^[23] The poem Lokasenna positions Loki as the central antagonist in a dramatic verbal flyting, or exchange of insults, at the feast of the sea-giant Ægir. Crashing the gathering, Loki systematically accuses the gods and goddesses of hypocrisy, infidelity, and moral failings—revealing secrets such as Óðinn's practice of seiðr (sorcery), Frigg's hidden lovers, and Freyja's promiscuity—escalating tensions until Thor threatens him into silence. This poem highlights Loki's razor-sharp wit and role as a truth-teller who exposes divine vulnerabilities, underscoring themes of verbal dueling as a ritualistic challenge to social order.^[19]^[15] In Þrymskviða, Loki acts as both accomplice and trickster foil to Þórr, aiding in the recovery of the stolen hammer Mjölnir from the giant Þrymr, who withholds it until given Freyja as a bride. Loki volunteers to scout the giants' realm, borrows Freyja's falcon cloak for flight, and upon learning the demand, slyly proposes Þórr disguise himself as the bride; accompanying him as the bridesmaid, Loki's quick thinking and deceptions—such as explaining Þórr's voracious appetite and fiery eyes as bridal nervousness—enable the hammer's retrieval and Þrymr's demise. This narrative showcases Loki's pragmatic cunning in resolving crises through disguise and guile.^[22]^[18] Loki receives briefer but ominous mentions in other poems, reinforcing his ties to doom and kinship. In Baldrs draumar, Óðinn rides to consult a völva (seeress) about Baldr's nightmares, and she prophesies Baldr's death at the hands of his blind brother Höðr using a mistletoe branch, linking the event to impending doom until Loki's bonds snap. Similarly, Hyndluljóð, a genealogical lay, references Loki's union with the giantess Angrboða producing the wolf Fenrir, as well as his shape-shifting birth of Sleipnir from the stallion Svaðilfari, emphasizing his aberrant familial connections that spawn apocalyptic threats.^[24]^[25] Across these poems, recurring themes of verbal dueling and foreshadowing doom define Loki's character development, portraying him as a catalyst for conflict whose barbs and schemes unravel the gods' stability, from personal scandals in Lokasenna to cosmic unraveling in Völuspá and Baldrs draumar. These elements reflect the Edda's oral poetic style, where Loki's disruptions serve narrative tension and moral ambiguity.^[13]^[19]

Prose Edda Accounts

In the Prose Edda, compiled by Snorri Sturluson in the early 13th century, Loki is portrayed as a complex figure integral to the Æsir gods, blending kinship with mischief and eventual antagonism. Snorri introduces Loki primarily in Gylfaginning, framing him as a companion to Odin and the other gods while emphasizing his giant heritage and disruptive nature. This depiction draws briefly from earlier poetic traditions, such as Lokasenna, to expand on Loki's interactions within the divine assembly.^[26]^[27] Loki is described in Gylfaginning as the son of the giant Fárbauti and the giantess Laufey (also called Nál), making him Laufeyarson or Loptr, and he is established as Odin's blood-brother through a sworn pact that binds him to the Æsir despite his origins. This alliance positions Loki as a kinsman and uncle to the gods, yet he is characterized as a mischief-monger who "wrought most ill among the Æsir," fathering monstrous offspring with the giantess Angrboða: the wolf Fenrir, the Midgard Serpent Jörmungandr, and the goddess of the underworld Hel. These progeny foreshadow Loki's role in cosmic threats, as the gods anticipate their harm and take measures to contain them.^[26] Snorri recounts several myths in Gylfaginning that highlight Loki's cunning exploits. In the tale of Asgard's wall construction, Loki persuades the Æsir to hire a giant builder and his stallion Svadilfari, wagering Freyja, the sun, and the moon as payment if the work is completed in one winter; when the horse proves exceptionally strong, Loki transforms into a mare to seduce and distract Svadilfari, causing the project to falter and allowing Thor to slay the giant before the deadline. From this union, Loki later gives birth to the eight-legged horse Sleipnir, the swiftest steed among gods and men, which Odin claims as his own mount. These narratives underscore Loki's shape-shifting abilities and his capacity to both aid and endanger the gods through trickery.^[26] In Skáldskaparmál, Snorri delves into Loki's linguistic and poetic associations, providing kennings—metaphorical phrases used in skaldic verse—that reflect his multifaceted identity and deeds. Loki is termed the "evil companion of Odin," "thief" for stealing items like Sif's golden hair or Idunn's apples, "contriver of Baldr's death," "foe of the gods," and "bound god," alluding to his eventual punishment. Notably, as the father of monsters, Loki earns the kenning "corpse-father" in reference to creatures like wolves and serpents, emphasizing his generative role in producing threats to the divine order. These kennings serve Snorri's purpose of preserving and explaining Norse poetic traditions, portraying Loki as a figure of deception and familial ties within the Æsir pantheon.^[27] The Prose Edda culminates Loki's arc in Gylfaginning with his binding, a punishment for his instigation of Baldr's death through the mistletoe scheme. The gods capture Loki after he flees in the form of a salmon; they bind him across three sharp rocks in a cave using the entrails of his son Narfi (transformed into a wolf by the gods), with another son, Váli, turned into a wolf to perform the deed. Skadi fastens a venom-dripping serpent above Loki's face, causing agony as the poison falls; his loyal wife Sigyn holds a basin to catch the drops, but when she empties it, the venom strikes, shaking the earth with Loki's convulsions—a portent of Ragnarök. This myth illustrates Loki's shift from ally to irredeemable adversary, bound until he breaks free at the world's end.^[26]

Archaeological Evidence

Stone Carvings

Archaeological evidence for Loki in Norse iconography appears primarily in Viking Age stone carvings from Scandinavia and Anglo-Scandinavian regions, where his depiction often reflects themes of torment and eschatological conflict drawn from mythological narratives such as his binding in the Poetic Edda.^[28] These artifacts, dated through stylistic analysis and material provenance, illustrate Loki's role as a bound trickster undergoing punishment, with regional variations in carving techniques highlighting cultural synthesis in areas of Norse settlement.^[29] The Snaptun Stone, discovered in 1950 near Snaptun in Jutland, Denmark, is a soapstone fragment approximately 18 cm high, likely originating from Norwegian or Swedish quarries and dated to the 10th century based on its stylistic features and context as a possible forge or hearth stone.^[30] It bears a carved face with a contorted, grimacing expression, featuring crossed lines across the mouth interpreted as Loki's lips sewn shut by the dwarf Brokkr, symbolizing his torment following a dispute over divine artifacts.^[31] This representation aligns with Loki's mythological punishment, emphasizing his vulnerability and the consequences of his trickery.^[32] In England, the Kirkby Stephen Stone from Cumbria, dated to the 10th century based on its Anglo-Scandinavian sculptural style and context, depicts a bound male figure on its lower section, with serpents positioned above suggesting venom dripping onto him, a direct iconographic reference to Loki's binding and imprisonment until Ragnarök.^[33] The carving, part of a fragmented cross shaft now housed in St. Stephen's Church, portrays the figure in lateral pose with exaggerated musculature and serpentine motifs, underscoring themes of restraint and suffering in Norse cosmology.^[34] Scholars interpret this as Loki tormented by poison, echoing his binding by the gods with his wife Sigyn catching the venom in a bowl.^[28] The Gosforth Cross, a high cross in Cumbria dated to the early 11th century via its Anglo-Saxon and Norse hybrid style, features potential depictions of Loki in Ragnarök scenes on its western face, including a bound figure possibly with Sigyn and a horn-blowing warrior identified as Heimdallr battling a serpentine foe or Loki himself.^[35] Standing over 4.5 meters tall, the monument blends Christian crucifixion imagery with pagan elements, such as the antagonistic duel between Heimdallr and Loki prophesied in Völuspá, highlighting eschatological motifs in a transitional cultural context.^[33] These carvings exhibit regional styles: the Danish Snaptun Stone reflects pure Scandinavian soapstone working with minimalist, functional iconography suited to domestic or ritual use, while the English examples from Cumbria display Anglo-Scandinavian fusion, incorporating runic-inspired angular cuts and hybrid motifs dated through comparative analysis of Viking Age sculpture typologies.^[29] Dating relies on stylistic parallels to dated runestones and crosses, with Cumbrian pieces showing influences from York and Dublin workshops, evidencing Norse migration patterns.^[36]

Other Artifacts

Archaeological evidence for Loki in non-stone artifacts is limited, reflecting his ambiguous role in Norse mythology, but several finds suggest associations with trickery, transformation, and fire. The Norwegian Rune Poem, preserved in a 12th-century manuscript but describing Viking Age runic traditions, links Loki to the Bjarkan rune (ᛒ) in its stanza: "Bjarkan er laufgrønstr líma; Loki bar flærða tíma," which translates to "The birch has the greenest leaves of any shrub; Loki was fortunate in his deceit." This connection implies Loki's embodiment of cunning and renewal, akin to the birch tree's regenerative qualities, and has influenced interpretations of runic inscriptions featuring Bjarkan on amulets and tools from Norwegian sites, though direct mentions of Loki are absent.^[37]^[38] Possible amulets and figurines from Viking Age sites have been tentatively identified as depicting shape-shifters, potentially representing Loki's metamorphic abilities as described in myths like his transformation into a mare or fly. A notable example is a copper-alloy buckle discovered in 2017 at Ågård, a key Viking Age settlement in southern Denmark, featuring a stylized winged figure that archaeologists have suggested may portray Loki in a transformative form, possibly alluding to his role in stories involving flight or disguise. Dating to around 1000 CE, the artifact was likely part of a belt or garment and is among the few potential physical depictions of the god, highlighting his rare but intriguing presence in personal adornments.^[39] Helmets and brooches with trickster motifs have emerged from digs in Sweden and Iceland, often featuring ambiguous figures with serpentine or bound elements evocative of Loki's myths. At Uppåkra, a major cult site in southern Sweden, excavations uncovered a 10th-century copper-alloy mount depicting a winged humanoid, interpreted by some scholars as a trickster archetype similar to Loki, though more commonly linked to other figures like Wayland the Smith; its stylistic details, including dynamic poses suggesting motion or deception, align with Loki's chaotic persona. In Iceland, oval brooches from Viking Age burials, such as those from the 9th-10th century sites at Reykholt, occasionally bear incised motifs of intertwined animals and human-like forms that may symbolize shape-shifting tricksters, providing comparative iconography to stone carvings but in portable, functional forms.^[40] Evidence of cultic worship or avoidance of Loki appears in the composition of burial goods, where his symbols are notably scarce compared to those of protective deities like Thor. Viking Age graves across Scandinavia, including high-status chamber tombs in Sweden and Denmark, contain numerous amulets such as Mjölnir pendants for warding off evil, but lack identifiable Loki-related items, suggesting deliberate avoidance in funerary rites possibly due to his association with Ragnarök and destruction. This pattern implies Loki was not a focus of propitiatory worship in death rituals, with any potential cultic references confined to elite or specialized contexts like the Uppåkra finds, rather than widespread burial practices.^[41]

Folklore and Later Traditions

Scandinavian Folk Beliefs

In 17th- to 19th-century Swedish and Norwegian folklore, Loki retained associations with fire and mischief, often manifesting as a vätte, or domestic spirit, believed to dwell under or near the fireplace as a portal to the otherworld. This figure was thought to manipulate flames—causing them to crackle, whistle, or flare unexpectedly—while aiding farmers with household tasks and bringing prosperity if properly honored through sacrifices like porridge or butter left by the hearth. Such traditions persisted in rural areas like Telemark in Norway and Dalarna in Sweden, where Loki's fiery pranks symbolized both the hearth's essential warmth and its potential dangers, echoing his dual role as helper and disruptor.^[42] Folktales from these periods frequently depicted Loki as a household spirit engaging in pranks akin to those attributed to trolls, such as tangling weaving threads, hiding tools, or souring milk to test human hospitality. Unlike more malevolent trolls, however, Loki's mischief was often seen as normative boundary-testing, resolvable by offerings, and comparable to the clever Ash Lad figure who outwits giants through cunning. These narratives, collected in 19th-century ethnographic accounts, portrayed Loki as an indispensable yet unpredictable presence in farm life, blending aid with petty chaos to maintain cosmic balance.^[42] Under Christian influence in Icelandic oral traditions from the post-medieval era, Loki's image shifted toward a devil-figure, with his shape-shifting and deceptive traits amplified to parallel Satan as a tempter and adversary to divine order. In these stories, Loki's role in Ragnarök and his betrayal of the gods were reinterpreted through a Christian lens, portraying him as an embodiment of evil who lured souls into sin, a view that intensified after the 13th century as pagan elements were demonized in clerical writings and folk sermons. This Christianized Loki appeared in 17th- and 18th-century tales as a harbinger of misfortune, such as crop failures or household discord, directly contrasting earlier neutral trickster depictions.^[43] Regional variations extended Loki-like traits into Finnish-Karelian epics, where figures such as Louhi, the sorceress-ruler of Pohjola in the Kalevala, exhibited similar enmity, deception, and shape-shifting antagonism toward heroic protagonists, mirroring Loki's conflicts with the Æsir. These parallels arose from shared cultural contacts in the Baltic-Nordic region, with Louhi's manipulative schemes—such as stealing the Sampo artifact—evoking Loki's disruptive exploits in oral traditions compiled in the 19th century. Such motifs highlight how Loki's archetype influenced adjacent folk beliefs, adapting to local shamanistic and epic frameworks without direct equivalence.^[44]

Medieval Saga Mentions

In the Völsunga saga, a 13th-century Icelandic heroic legend, Loki features prominently in chapter 14 as a trickster figure accompanying Odin and Hoenir on a journey. There, he impulsively kills Otr, who has shape-shifted into an otter form, sparking a demand for wergild from the giant Hreidmarr. To settle the debt, Loki cunningly borrows the cursed treasure from the dwarf Andvari, including the ring Andvaranaut, which becomes central to the saga's plot and indirectly aids the hero Sigurd by fueling the events leading to his acquisition of the dragon-slaying sword Gram and the hoard itself.^[17]^[45] The Njáls saga, another key 13th-century Icelandic family saga, contains allusions to Loki through parallels with his chaotic role in mythological narratives, particularly the Baldr myth where Loki's malice incites fatal deception. Scholars interpret the saga's central tragedy—where envy and trickery lead to the burning of Njáll's household and the breakdown of oaths and legal settlements—as a secular echo of Loki's disruptive influence, emphasizing themes of uncontrollable chaos and the fragility of sworn bonds in human society.^[46] In certain Norse heroic legends, Loki's trickster archetype blends with figures like Logi, the fire giant personifying destructive flames, reflecting etymological and thematic overlaps where Loki's unpredictable nature evokes fire's dual role as both ally and peril. For instance, Logi appears in tales of elemental contests, such as the eating challenge in Gylfaginning, but later sagas and folklore sometimes conflate Loki's shape-shifting mischief with Logi's fiery essence, portraying hybrid characters who embody chaotic transformation in heroic quests.^[47] Loki's presence permeates skaldic poetry through specialized kennings, compact metaphorical phrases that poets used to evoke his identity without naming him directly, drawing on his mythological exploits as foundational influences from Eddaic sources. Examples include "friend of the raven-god" (vinr hrafnásar) for Loki as Odin's companion, or "father of the sea-thread" referring to his paternity of Jörmungandr, the Midgard Serpent; these kennings appear in works like Þjóðólfr ór Hvini's Haustlöng, highlighting Loki's role in mythic narratives of betrayal and ingenuity.^[48]^[49]

Scholarly Theories

Origins and Evolution

Loki's mythological origins trace back to pre-Christian Germanic traditions, where he emerges as a figure of giant (jötunn) descent, the son of the giants Fárbauti and Laufey (also known as Nál), hailing from Jötunheimar, the realm of giants.^[50] Despite this outsider status, Loki is absorbed into the Æsir pantheon through a blood-brotherhood oath with Odin and his marriage to the Æsir goddess Sigyn, marking a process of integration that likely reflects the assimilation of indigenous or peripheral deities into the dominant Æsir framework during the late Iron Age.^[50] Some scholars propose that Loki may represent an indigenous pre-Indo-European substrate deity, though textual evidence primarily aligns him with the giants. This absorption underscores Loki's ambiguous position, as he is often enumerated among the Æsir but retains traits of otherness, such as shape-shifting and cunning, distinct from the warlike Æsir ethos.^[50] Over time, Loki's character evolves from a resourceful companion of the gods to a primary antagonist, a transformation that may mirror broader societal shifts in Scandinavian culture, including the transition from pagan vitality to Christian moral frameworks. In early myths, Loki aids the Æsir in adventures, such as retrieving Thor's hammer Mjöllnir in Þrymskviða or fashioning replacement golden hair for Sif after his mischief, portraying him as a clever problem-solver essential to the pantheon's survival.^[50] However, in later narratives like the Poetic Edda's Lokasenna and accounts of Baldr's death, he becomes a disruptive force, hurling insults at the gods and orchestrating chaos that culminates in his binding and role as Ragnarök's adversary, leading monstrous offspring against the Æsir.^[50] This progression from ally to betrayer possibly reflects evolving communal values, where trickster elements once tolerated for their creative potential were increasingly viewed as threats amid social consolidation and Christian influence.^[50] French scholar Georges Dumézil interpreted Loki within his tripartite theory of Indo-European mythology, viewing him as a figure who disrupts the three social functions—sovereignty (Odin), martial force (Thor), and fertility/productivity (Vanir)—thereby embodying opposition to the structured cosmic order.^[51] Comparative mythology reveals Indo-European parallels that illuminate Loki's genesis and development, positioning him within a broader archetype of the ambivalent trickster. He shares motifs with the Greek Prometheus, both bound as punishment for aiding gods or humanity—Prometheus for stealing fire, Loki for his role in Baldr's demise—suggesting a shared Proto-Indo-European narrative of a fettered culture hero who introduces both innovation and peril.^[9] Similarly, Loki's dual nature echoes the Native American Coyote, a shape-shifting mischief-maker who creates through deception but invites catastrophe, highlighting a universal trickster paradigm beyond strict Indo-European bounds.^[50] These parallels support theories of Loki as an archaic figure embodying creative destruction, potentially rooted in fire or air deities from earlier Indo-European strata. In medieval Christian retellings, euhemerism further reshapes Loki's portrayal, recasting pagan deities as historical humans to align Norse lore with biblical chronology and undermine polytheism. Snorri Sturluson's Prose Edda euhemerizes the Æsir as Trojan descendants who migrated to Scandinavia, with Loki integrated as a mortal trickster whose antics symbolize human folly rather than divine caprice, influenced by Christian demonology that amplifies his antagonistic traits.^[52] This approach, evident in Snorri's framing of myths as ancestral histories, reflects the era's apologetic strategies, where Loki's evolution culminates in a figure akin to a satanic deceiver, bound until the end times.^[52] Some scholars briefly identify Loki with Lóðurr, a creator figure in human origin myths, suggesting an earlier benevolent role later overshadowed by Christian reinterpretations.^[50]

Interpretations and Identifications

Some scholars have proposed identifying Loki with the enigmatic figure Lóðurr from the Poetic Edda, particularly in Völuspá stanza 18, where Lóðurr joins Óðinn and Hœnir in creating the first humans by endowing them with vitality, often interpreted as blood, color, or warmth akin to fire-bringing attributes shared with Loki's fiery associations elsewhere in Norse lore.^[53] This linkage is reinforced by late medieval Icelandic rímur poems, such as Lokrur and Þrymlur, which explicitly use Lóðurr as a synonym for Loki, suggesting a persistent folk tradition of equating the two as a creator-god tied to transformative, life-giving fire.^[53] Ursula Dronke and others argue this identification positions Lóðurr-Loki as a hypostasis of creative chaos within the Æsir triad, distinct from Óðinn's spirit and Hœnir's form.^[54] The myth of Loki's binding in the Prose Edda parallels the Greek Prometheus's punishment, both depicting a fire-associated deity restrained to contain disruptive forces, evoking a duality between chaos and imposed order.^[55] In Loki's case, his fettering with the entrails of his son Nari after Baldr's death symbolizes the temporary suppression of chaotic potential to preserve cosmic balance until Ragnarök, much like Prometheus's chaining to a rock for stealing fire reflects the taming of innovative rebellion against divine authority.^[55] This shared motif of a "Fire-God's Binding" traces to an Indo-European prototype, where the bound figure embodies transformative energy that both endangers and sustains order.^[55] Similarly, Loki's role has been likened to Satan in Christian tradition, as a cunning adversary whose binding anticipates apocalyptic release, underscoring a chaos-order tension where Loki's "deal with the devil" aids the gods yet precipitates their downfall at Ragnarök.^[17] From a psychological standpoint, Loki exemplifies the Jungian shadow archetype, representing the repressed, chaotic aspects of the psyche that disrupt conscious order to foster individuation and wholeness.^[56] As a trickster, Loki's shape-shifting and boundary-crossing behaviors mirror the shadow's fluidity, embodying unacknowledged instincts that challenge societal norms and reveal hidden truths, much like the collective unconscious's drive toward integration.^[56] Feminist interpretations further highlight Loki's gender fluidity as a subversive challenge to patriarchal binaries, evident in myths like Þrymskviða where Loki assumes female form to retrieve Thor's hammer, and Gylfaginning where he births Sleipnir as a mare, using transformation to navigate and critique rigid gender roles.^[13] This fluidity positions Loki as an "othered" figure, whose self-abasement through feminization underscores the era's anxieties about non-normative identities, yet also asserts agency in a male-dominated pantheon.^[13] In 20th- and 21st-century scholarship, Loki emerges as a queer icon and anti-hero, with his gender and sexual ambiguity—spanning male, female, and hybrid forms—interpreted as evidence of pre-Christian Norse tolerance for fluid identities, subverting heteronormative structures in myths like Lokasenna.^[57] This reading reframes Loki not as a villain but as a liminal anti-hero whose chaos catalyzes renewal, drawing parallels to modern queer theory where his shape-shifting embodies resistance to fixed categories, as explored in analyses of Viking-Age gender performativity.^[57] Debates emphasize Loki's acceptance among the Æsir despite his queerness, suggesting a cultural space for non-binary figures that influences contemporary views of him as an empowering, boundary-defying archetype.^[57]

Representations in Modern Culture

Literature and Art

In Richard Wagner's operatic tetralogy Der Ring des Nibelungen (composed 1848–1874), Loki appears as the fire god Loge, a cunning trickster whose ambivalence and shape-shifting nature drive key plot elements, such as the forging of the ring and the gods' downfall. This portrayal, drawing from Norse sources like the Poetic Edda while infusing Romantic ideals of individualism and fate, significantly influenced 19th-century German romantic nationalism by elevating mythic figures as symbols of cultural heritage and heroic struggle.^[58]^[59]^[60] Victorian-era retellings of Norse myths, such as Thomas Bulfinch's The Age of Fable (1855), emphasized Loki's role as a mischievous deceiver whose pranks and betrayals—such as aiding the death of Balder or tricking Thor—highlighted themes of chaos and moral ambiguity within the divine order. These adaptations, aimed at popularizing ancient lore for English audiences, often sanitized the myths but underscored Loki's trickery as a cautionary force against unchecked wit.^[61]^[62]^[63] In 20th-century literature, authors reimagined Loki as a complex anti-hero, blending his traditional mischief with modern psychological depth; for instance, Neil Gaiman's American Gods (2001) features Loki (disguised as Low Key Lyesmith) as a charismatic manipulator plotting against old gods in contemporary America, portraying him as a sympathetic yet destructive figure navigating cultural displacement. This evolution reflects broader trends in fantasy fiction toward sympathetic tricksters who challenge authority.^[64]^[65] Visual arts captured Loki's enigmatic allure through evocative illustrations, such as Arthur Rackham's 1910 depictions in The Rhinegold & The Valkyrie, where he appears as a sly, flame-haired figure bound with his wife Sigyn amid serpentine torment, emphasizing his tragic duality in Art Nouveau style. Pre-Marvel comics further popularized him, with his debut as a scheming antagonist in Timely Comics' Venus #6 (1949), where Loki unleashes demons on Earth, establishing early 20th-century graphic interpretations of his villainy rooted in mythic betrayal.^[66]^[67]^[68] These literary and artistic depictions have informed later adaptations, including film portrayals that draw on Loki's trickster archetype for charismatic antagonists.

Film, Television, and Media

Loki's portrayal in the Marvel Cinematic Universe (MCU) has been a cornerstone of modern adaptations, with Tom Hiddleston embodying the character since his debut in Thor (2011), where he is introduced as the adopted brother of Thor and a cunning antagonist driven by feelings of rejection and ambition. Hiddleston's performance emphasizes Loki's charisma, blending charm, vulnerability, and mischief, which evolved across films like The Avengers (2012) and Thor: Ragnarok (2017) into a more nuanced anti-hero seeking redemption.^[69] This arc culminates in the Disney+ series Loki (2021–2023), where Hiddleston reprises the role, exploring the character's growth amid multiverse chaos following Avengers: Endgame (2019), with Loki confronting variants of himself and ultimately embracing a sacrificial guardianship over timelines.^[70] As of 2025, while no third season has been released, showrunner Michael Waldron has expressed ongoing interest in continuing Loki's story, potentially tying into broader MCU multiverse narratives.^[71] In interactive media, Loki appears as Atreus, the son of Kratos, in the video games God of War (2018) and God of War Ragnarök (2022), reimagined as a young, conflicted figure grappling with his Norse heritage and prophetic destiny.^[72] Initially portrayed as an eager companion on a journey through the Nine Realms, Atreus/Loki develops into a complex antagonist whose independent actions—such as allying with gods like Odin—create tension and moral ambiguity, highlighting themes of identity and rebellion against fate.^[73] This depiction draws on mythological trickster elements but adapts them to emphasize emotional depth and familial strife, positioning Loki as a pivotal force in averting or fulfilling Ragnarök.^[74] Television has offered grounded reinterpretations, notably in the New Zealand series The Almighty Johnsons (2011–2013), where Shane Cortese portrays Anders Johnson, a slick PR consultant revealed as the reincarnation of Loki among modern-day Norse gods living in Auckland.^[75] The show blends Loki's trickster archetype with contemporary life, depicting Anders as a manipulative yet charismatic figure who uses his shape-shifting abilities and cunning to navigate family dynamics, romantic entanglements, and a quest to restore divine powers, often with humorous and irreverent results.^[75] This portrayal underscores Loki's adaptability, portraying him as an eccentric outsider thriving in suburban chaos while plotting larger schemes tied to Ragnarök prophecies.^[75] The 2020s have seen Loki's media presence expand through multiverse explorations in the Disney+ Loki series, with Season 1 (2021) introducing the Time Variance Authority and Loki's variant encounters, and Season 2 (2023) delving deeper into temporal branches and his redemptive choices amid threats to reality.^[69] These installments highlight Loki's evolution from self-serving villain to a multiverse protector, influencing trends in superhero storytelling by emphasizing variant identities and philosophical questions about free will.^[70]

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Sep 29, 2022 · The origin of the name Loki is less clear. It could come from the Ole Norse word lúka, which means “to close,” or from the Old Norse loga, which ...What is Loki's real name in Old Norse? What does it mean ...How do you write “Loki” in Old Norse?More results from www.quora.com
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In popular folk etymology, often assumed to be a variant of Old Norse logi (“flame, blaze”) (from Proto-Germanic *lugô (“flame, blaze”); compare Old Norse ...
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Summary of each segment:
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The bound Loki is depicted at the bottom of the same face. The significance of this scene in the present context is double. On the one hand, Loki is ...
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Laufey's son: Loki; not much is known of his parents beyond their names. His father was the giant Farbauti, his mother Laufey, sometimes called Nal. There is an ...
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### Summary of "A Winged Figure from Uppåkra"
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divine triad. The scepticism of scholars regarding the English charm was thoroughly justified so long as it was assumed that the god Loki.
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John Lindow, Comparing Balto-Finnic and Nordic Mythologies
... folk belief” of the time. Most of the world is familiar with Balto-Finnic ... Loki. (Castrén 1853b: 313). (All three of these gods can in general be ...Missing: 19th | Show results with:19th
[44]
[PDF] An Overview Of the Northern Influences on Tolkien's Works
In the Volsunga Saga, Fafnir is a human brother of Regin and Otr. Otr shape-shifts into an otter whom the God Loki kills in a moment of senseless violence. The ...
[45]
[PDF] Prolonged Echoes. Old Norse Myths in Medieval Northern Society
The central tragedy of Njdls saga is a human version of the myth of Baldr in Snorra-Edda, where the mischievous Loki, motivated by envy and malice, tricks the ...
[46]
norsemyth.org: Questioning Loki, Part One - The Norse Mythology Blog
Jan 5, 2013 · The oldest written source for Loki is the 9th-century Norwegian poem Haustlöng (“Autumn-long”), which includes Loki's adventure with the giant ...
[47]
Kennings for Loki - The Skaldic Project
Kennings for Loki. kennings (named referents) · Þjóð Haustl 4. vinr hrafnásar 'the friend of the raven-god' = Loki the raven-god → Óðinn
[48]
[PDF] Larrington - Loki's Children - International Saga Conference Archive
The three children of Loki appear in skaldic poetry, both early and late, often closely linked together. Kennings for Hel strikingly flag up her wide kin- ...
[49]
[PDF] Norse Mythology: A Guide to the Gods, Heroes, Rituals, and Beliefs
Schjødt contributed a brief but concise history of Loki research in the encyclo- pedia article “Loki” in Medieval Scandinavia: An Encyclopedia, ed. Philip.
[50]
[PDF] euhemerism in the works of Saxo Grammaticus and Snorri Sturluson
May 30, 2024 · Euhemerism was deeply rooted in medieval Christian culture, and it is quite clear that both Saxo and Snorri had a genuine interest in ...
[51]
[PDF] Lokrur, Lóðurr and Late Evidence - Haukur Þorgeirsson
The poets could have known Vǫluspá,. Íslendingadrápa and the other material from which (some) scholars have surmised that Lóðurr is Loki. The rímur poets then.Missing: fire | Show results with:fire
[52]
„The Flexible Masculinity of Loki,“ Limes, vol. 13 - Academia.edu
According to scholars such as Ursula Dronke6, Loki also possessed a third name and is the Lóðurr who makes a single appearance in Vǫluspá, as one of the three ...
[53]
Loki's chains, Agni's yoke, Prometheus Bound, and the Old English ...
This study has a twofold aim. The first is to make the case for the reconstruction of an Indo-European myth of the "Fire-God's Binding" with well-preserved ...
[54]
[PDF] A PSYCHOANALYTICAL READING OF LOKI - IJCRT.org
May 5, 2023 · Loki's inner conflicts include his need for power, approval, and feelings of inferiority, and his struggle between villainy and heroism.
[55]
(PDF) Loki: Thoughts on the Nature of the God, a Queer Reading
... Gosforth Cross, which also shed light on the myths of Loki. To begin my interpretation of the role of Loki in the Norse religious system, and to answer my ...Missing: Heimdallr | Show results with:Heimdallr
[56]
Wagner's Norse Obsession - Metropolitan Opera
Loge is based on Loki, an extremely clever trickster who can change his shape at will. Since Loki is half god and half giant, his loyalties can waver.
[57]
[PDF] Connecting Johann Herder's Romantic Nationalism & Richard ...
May 3, 2024 · It was the Nationalism pioneered by Herder which was one of the primary influences on the thinking at the time, that influenced Wagner during ...
[58]
Myths of Creation Wagner's Ring Cycle - Paul A. Cantor
With Wagner, we reach the peak of Romanticism—he is indeed the arch-Romantic, and the Ring cycle is the culmination of many phases of the Romantic movement.
[59]
XXXVIII: Northern Mythology—Valhalla—The Valkyrior
Loki has three children. The first is the wolf Fenris, the second the Midgard serpent, the third Hela (Death). The gods were not ignorant that these monsters ...
[60]
Bulfinch's Mythology - XL: The Death of Baldur—The Elves—Runic ...
Hodur then took the mistletoe, and under the guidance of Loki, darted it at Baldur, who, pierced through and through, fell down lifeless. Surely never was there ...
[61]
The Age of Fable by Thomas Bulfinch: Ch. 32: Thor's Visit to Jotunheim
One day the god Thor, accompanied by his servant Thialfi, and also by Loki, set out on a journey to the giant's country. Thialfi was of all men the swiftest ...
[62]
The power of Loki: from 12th-century Iceland to The Avengers | Books
May 30, 2015 · Subversive, demonic, funny ... it's no surprise that Neil Gaiman and Marvel have discovered the mythical god Loki as the perfect modern-day antihero.
[63]
[PDF] Neil Gaiman's American Gods - ScholarWorks@UNO
Aug 10, 2005 · In 2001, Neil Gaiman published American Gods, a novel of American life and mythology. As a British author living in the United States, Gaiman ...
[64]
Loki and Sigyn, by Arthur Rackham (c. 1867-1939)
Nov 23, 2021 · This illustration, by the British artist Arthur Rackham (c. 1867-1939), was inspired by a painful myth involving the mischievous Norse god, Loki.
[65]
The First (Marvel) Loki Story - The Tom Brevoort Experience
Apr 9, 2022 · This issue of VENUS represents the first time that a version of Loki was used as a villain in a Marvel-published comic.
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See The First Time Loki and Thor Appeared in a Marvel Comic! - CBR
Apr 29, 2020 · Loki became a recurring villain. In Venus #12, though, in a story drawn by Werner Roth, Venus is in trouble and while he is still nominally her ...Missing: 1949 | Show results with:1949
[67]
Loki (2021-2023) | Synopsis, Cast & Characters - Marvel
Loki Season 2 picks up in the aftermath of the shocking season finale when Loki finds himself in a battle for the soul of the Time Variance Authority.
[68]
Watch Loki | Full Episodes | Disney+
The mercurial villain Loki (Tom Hiddleston) resumes his role as the God of Mischief in a new series that takes place after the events of “Avengers: Endgame.”
[69]
https://www.marvel.com/tv-shows/loki
[70]
Discover God of War | PlayStation (US)
God of War (2018) and God of War Ragnarök set Kratos on a new journey with the Norse world, leaving his old life behind and seeking a new life with his son ...God of War Ragnarök · God of War III Remastered · PS4 Games · Cosplay<|separator|>
[71]
https://thedirect.com/article/loki-season-3-disney-plus-showrunner-hope-update
[72]
https://www.playstation.com/en-us/god-of-war/
[73]
The Almighty Johnsons (TV Series 2011–2013) - IMDb
Rating 8.1/10 (5,215) I can't praise the cast enough but Shane Cortese as Colin/Loki is wonderfully sleazy, and Ben Barrington as eternally young grandfather Olaf/Baldur is ...Full cast & crew · Episode list · Parents guide · User reviews