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Midgard

Midgard (Old Norse: Miðgarðr), meaning "middle enclosure," is the central realm of humanity in Norse mythology, created by the gods Odin, Vili, and Vé from the eyebrows of the primordial giant Ymir to serve as a fortified home for mankind, protected from the surrounding giants by an encircling ocean.^[1] This world, also known as Manna-heimr or "home of mankind," represents the earthly plane where humans dwell, distinct from the divine realms and the lands of other beings.^[2] In the cosmological structure outlined in the Prose Edda, Midgard forms one of the Nine Worlds upheld by the cosmic ash tree Yggdrasil, positioned between Asgard—the abode of the Æsir gods, connected by the rainbow bridge Bifröst—and Jötunheim, the chaotic realm of the giants.^[3] The realm is encircled by the immense Midgard Serpent, Jörmungandr, a child of Loki that was cast into the ocean by Odin and now coils around the world, forming a natural boundary that prevents giants from easily invading while symbolizing the precarious balance of the cosmos.^[4] Thor, the god of thunder and wielder of the hammer Mjölnir, acts as the primary guardian of Midgard, frequently battling the serpent and other threats to safeguard its inhabitants.^[5] The creation of Midgard and the broader world is poetically detailed in the Poetic Edda's Grímnismál, where Odin recounts: "Ymir's flesh, say the wise, and the red blood of him, the huge world was made; of his sweat were the seas, of his bones were the hills, of his hair the trees, of his skull was the sky, and of his brows Midgarth for men made; but of his brain were the heavy clouds made."^[6] This mirrors the Prose Edda's account, emphasizing the gods' act of ordering chaos into habitable space after slaying Ymir, whose body provided the raw materials for the earth, seas, mountains, and skies.^[1] Midgard's fate is tied to the apocalyptic Ragnarök, during which Jörmungandr will rise from the depths, poisoning the skies and engaging Thor in a fatal duel, leading to the realm's temporary destruction before its renewal.^[7]

Mythological Role

Cosmological Position

In Norse cosmology, Midgard serves as the central realm inhabited by humans, positioned at the heart of the nine worlds and encircled by a vast, impassable ocean guarded by the immense serpent Jörmungandr, which bites its own tail to form a protective boundary.^[8]^[9] This enclosure isolates Midgard from the surrounding chaos while emphasizing its role as the focal point of mortal existence within the broader cosmic structure.^[10] The nine worlds, including Asgard, Vanaheim, Álfheimr, Jötunheimr, Nidavellir/Svartálfaheimr, Niflheim, Muspelheim, and Hel, are interconnected through Yggdrasil, the world tree that forms the axis of the universe, with its trunk and branches supporting these realms in a complex, non-linear arrangement.^[11] The precise arrangement of these realms is interpretive, as primary sources do not provide a strict map. Midgard occupies a middle position vertically along Yggdrasil's structure, situated below Asgard—the realm of the Æsir gods in the upper branches—and above Svartálfaheimr, the subterranean domain of the dark elves and dwarves.^[12]^[13] Horizontally, Midgard lies at the center, bordered by Jötunheimr, reflecting a layered cosmology where realms overlap in influence but maintain distinct spatial identities.^[11] Midgard connects directly to Asgard via Bifröst, the shimmering rainbow bridge that spans the divide between the divine and human realms, allowing gods to traverse to Midgard for observation and intervention.^[8]^[9] This linkage, combined with Yggdrasil's unifying role, positions Midgard not only as a physical midpoint but as a nexus bridging the mortal world with the supernatural domains above and below.^[11] The term "Midgard," deriving from Old Norse roots meaning "middle enclosure," aptly captures this intermediary status in the cosmic order.^[14]

Creation and Physical Features

In Norse mythology, the creation of Midgard is tied to the primordial act of cosmogony undertaken by the gods Odin, Vili, and Vé, the sons of Borr. After slaying the giant Ymir, whose body embodied the chaotic potential of the universe, the gods transported his corpse to the center of Ginnungagap and fashioned the world from its remains. The earth itself was formed from Ymir's flesh, providing the foundational landmass upon which Midgard would reside, while his blood gave rise to the seas and all flowing waters, establishing the hydrological framework of the realm.^[15] To safeguard the habitable core of this newly formed world from the encroachments of giants, the gods constructed a protective barrier using Ymir's eyebrows, shaping them into a sturdy wall that enclosed the central domain. This fortified enclosure, named Midgard—meaning "middle enclosure"—served as a stronghold specifically for humanity, distinguishing it as the realm of mortals amid the broader cosmic structure. The wall's design emphasized defense, encircling the inner earth and preventing incursions from the giant races allocated lands along the outer shores.^[15] Geographically, Midgard is characterized by a expansive central plain ideal for human habitation and agriculture, dotted with rivers that course through the landscape and sustain life. These rivers, along with lakes and streams, derive from the primordial waters born of Ymir's blood, weaving a network that supports settlement and travel across the realm. Surrounding this inner world is a vast, ring-shaped ocean that forms an impassable boundary, teeming with sea creatures such as the colossal Midgard Serpent Jörmungandr, who encircles the entire domain and embodies the perilous edge between order and chaos.^[15]

Etymology and Linguistics

Name Components and Meaning

The name Miðgarðr in Old Norse is a compound word derived from mið, meaning "middle," and garðr, meaning "enclosure," "yard," or "fortification," collectively denoting a "middle enclosure" or fortified central realm.^[16]^[17] This linguistic structure emphasizes Midgard's role as a protected central space in Norse cosmology, symbolizing the human world positioned between the divine realm of Asgard and the chaotic domain of the giants in Jötunheimr, thereby underscoring humanity's pivotal and safeguarded position within the cosmic order.^[14] The term's Proto-Germanic antecedent, reconstructed as midja-gardaz, combines midjaz ("middle") with gardaz ("enclosure" or "protection"), reflecting broader Germanic concepts of a delimited, central habitation that links protection with spatial centrality across early Indo-European traditions.^[17]^[18]

Historical Usage and Variations

The term Miðgarðr emerges in Old Norse texts preserved primarily in Icelandic manuscripts dating from the 9th to 13th centuries, reflecting its use in both oral and written traditions during the Viking Age. Skaldic poetry, composed by court poets from the 9th century onward and later transcribed in sagas and compilations, frequently incorporates Miðgarðr as a base-word in kennings to denote the human world or its boundaries. For instance, in the anonymous skaldic poem Bjarkamál (preserved in 13th-century manuscripts like Codex Regius), miðgarðr forms part of a kenning for the earth, highlighting its role in poetic diction for evoking the enclosed realm of mortals.^[19] These verses, often praising rulers or recounting heroic deeds, demonstrate Miðgarðr's integration into elite literary culture, with the term appearing across the skaldic corpus spanning this period.^[20] In Old Norse sagas and prose works, Miðgarðr appears consistently as Miðgarðr, underscoring its standardized form in narrative contexts by the 13th century. Manuscripts such as the Codex Wormianus (c. 13th century) and the Prose Edda by Snorri Sturluson (c. 1220) employ the term to reference the central human domain, often in discussions of cosmology or geography without delving into mythic elaboration. This usage aligns with its earlier poetic applications, showing continuity from oral skaldic traditions into written Icelandic literature, where it served as a linguistic anchor for describing the inhabited world. The core meaning of enclosure, derived from miðr ("middle") and garðr ("yard" or "fence"), persists across these texts. Cognate variations of Miðgarðr illustrate its broader evolution within Germanic languages, evidencing shared Proto-Germanic roots and cultural diffusion during the Viking Age (c. 793–1066 CE). In Old English, the form Middangeard occurs six times in the epic Beowulf (composed c. 8th–11th century, manuscript c. 1000 CE), referring to the earthly realm traversed by heroes and peoples, as in line 1771: "manigum mægþa geond þysne middangeard" ("to many tribes throughout this middle-earth").^[21] This adaptation reflects Anglo-Saxon exposure to Norse influences via Viking settlements in England. Similarly, the Gothic midjungards appears in the 4th-century Bible translation by Ulfilas, rendering the Greek oikouménē ("inhabited world") in Luke 2:1, marking one of the earliest attested Germanic uses.^[22] Further adaptations in Old High German, such as mittilgart or mittingart, emerge in 9th-century continental texts like Otfrid of Weissenburg's Evangelienbuch, where it denotes the worldly sphere in Christianized contexts.^[23] These forms, alongside Old Saxon middilgard in the Heliand (c. 830 CE), highlight the term's spread through missionary and trade networks, with Viking expansions reinforcing its Norse variant in northern Europe while continental branches adapted it to emerging vernacular literatures.^[24]

Depictions in Sources

Poetic Edda References

In the Völuspá, the seeress recounts the creation of Midgard as part of the world's formation from the primordial giant Ymir's body, where Bur's sons—Odin, Vili, and Vé—lift the level land to fashion "Mithgarth the mighty," warmed by the sun and greened with leeks, establishing it as the human realm encircled by the world's edge.^[25] This poetic vision emphasizes Midgard's foundational role in the cosmic order, born from divine craftsmanship amid the emerging landscape. Later in the poem, Midgard's vulnerability surfaces during Ragnarök, as the Midgard Serpent, Jörmungandr, writhes in wrath from the east, twisting over waves and contributing to the apocalyptic unleashing of chaos, with the ship Naglfar carrying giants to battle.^[25] The Grímnismál portrays Midgard through Odin's disguised revelations, positioning it as the third realm beneath Yggdrasil's roots, where the "lands of men" dwell under the world tree's third root, distinct from Hel's domain and the frost giants' icy abode, underscoring its central yet precarious place in the nine worlds.^[6] Imagery of human fate emerges vividly, with Odin's ravens, Huginn and Muninn, flying daily over Midgard to observe its inhabitants, evoking themes of vigilance and the fragility of mortal life amid cosmic surveillance.^[6] Threats from giants loom large, as the poem details Midgard's enclosure formed from Ymir's eyebrows to shield humanity, yet implying its susceptibility to external perils like the encircling giants and the eventual cosmic upheavals.^[6] This protective barrier highlights the ongoing tension between the human world and chaotic forces beyond its bounds. Poetic kennings in the Edda evoke Midgard's essence through metaphorical compounds, such as "man's home" to denote its role as the dwelling of humanity, appearing in stanzas that blend cosmological description with symbolic depth.

Prose Edda Descriptions

In the Gylfaginning section of the Prose Edda, Snorri Sturluson recounts the creation of Midgard as the central realm for humanity, fashioned by the gods Odin, Vili, and Vé from the body of the slain primordial giant Ymir. The earth itself was formed from Ymir's flesh, the seas from his blood, mountains from his bones, and stones from his teeth and shattered bones, while his skull became the sky, propped up by four dwarves named Nordri, Sudri, Austri, and Vestri. Specifically, Midgard was constructed as a fortified enclosure from Ymir's eyebrows, serving as a protective barrier against the giants and providing a dwelling place for humankind; as Snorri describes, "Then of his brows the blithe gods made / Midgard for sons of men."^[26] Snorri further elaborates on Midgard in Skáldskaparmál, where it features prominently in kennings—poetic circumlocutions used by skalds to evoke the realm. Midgard is often depicted as the domain under Thor's protection, with kennings such as "Defender of Midgard" for the god himself and references to the Midgard Serpent (Jörmungandr), the encircling monster that Thor battles as its "foe." The text positions Midgard as a key setting for mythological narratives, including Thor's duel with the giant Hrungnir at Grjóttúnagardr, where the thunder god wields his hammer Mjöllnir to shatter his opponent's stone club, and his confrontation with the giant Geirröðr in the latter's hall, after wading the river Vímun to reach it. These accounts illustrate Midgard not only as humanity's home but as a battleground where divine intervention safeguards it from chaotic forces.^[27]^[28] Throughout the Prose Edda, Snorri employs euhemerism to reframe Midgard within a historical-geographical context, portraying the Norse gods as mortal chieftains who originated in Asia—specifically from the region of Troy (Tyrkland)—and migrated northward to Scandinavia. In the Prologue, Odin is depicted as a wise leader from this Asian lineage who settles in Sweden, establishes dynasties across northern Europe, and elevates Scandinavia as the world's heartland, aligning Midgard with the known human territories of Europe, Asia, and Africa rather than a purely mythical plane. This rationalizing approach integrates pagan lore with Christian-era historiography, presenting Midgard as a cultural and territorial reality tied to Scandinavian identity.^[29]

Cultural and Modern Legacy

Interpretations in Folklore

In post-medieval Icelandic folktales, the concept of a bounded human world persisted, representing the familiar realm in contrast to hidden supernatural domains inhabited by elves, trolls, and other beings. This duality is evident in stories collected by Jón Árnason in the 19th century, where the human realm serves as the domain of everyday life, separated from parallel otherworlds accessed through rocks, hills, or caves. For instance, tales of the huldufólk (hidden people) describe them dwelling alongside humans but in invisible, rocky enclosures, maintaining a fragile boundary that could be crossed only under specific conditions, such as during solstice nights or through magical mishaps. During the 19th-century wave of romantic nationalism in Iceland, imagery from Norse mythology was invoked to bolster Nordic identity, portraying the Icelandic landscape as a mythic extension of the human world safeguarded by ancestral gods against chaotic external forces. Intellectuals and poets, influenced by the revival of Eddic lore, linked elements of Norse cosmology to the rugged terrain of Iceland, viewing it as a symbol of enduring national resilience and cultural purity amid Danish rule. This interpretation framed the island's isolation and harsh environment as a protective enclosure, tying folklore to a broader narrative of Nordic heritage and self-determination, as explored in scholarly analyses of the period's cultural revival.^[30] Folk motifs of protective enclosures against trolls, reminiscent of mythological barriers, appeared in oral traditions recorded into the 20th century, often depicting farms or settlements as fortified human spaces warded from nocturnal threats. In the Skaftafell troll-woman legend, a benevolent female troll guards a local farm and its resources, such as sheep and driftwood, from threats including a dangerous outsider and supernatural fog, aiding residents by lifting the fog and repelling intruders, thereby preserving the community's boundary against the wild. Such stories, transmitted through generations in rural Iceland, emphasized rituals like placing iron or blessed objects at thresholds to reinforce these enclosures, adapting mythological ideas to Christian-era concerns with trolls as disruptive outsiders.^[31]

Representations in Media

In J.R.R. Tolkien's legendarium, particularly in The Lord of the Rings, the realm of Middle-earth serves as the primary setting for human inhabitants, drawing direct inspiration from the Norse concept of Midgard as the central world of mortals surrounded by other realms. Tolkien explicitly described "Middle-earth" as a modern English rendering of the Old English Middangeard, which is cognate with the Old Norse Miðgarðr (Midgard), denoting the inhabited lands of humanity between the seas and positioned amid cosmic enclosures. This etymological nod underscores Middle-earth's role as an earthly domain vulnerable to divine and monstrous incursions, much like Midgard's mythological enclosure protected by the gods yet threatened by chaos from realms such as Jotunheim.^[32] In the Marvel Cinematic Universe (MCU), Midgard is explicitly depicted as Earth, the human realm within the Nine Realms connected by the world tree Yggdrasil, where Asgardian gods like Thor interact with mortals to avert cosmic threats. This portrayal begins in Thor (2011), where Thor is banished to Midgard and defends it from the Destroyer sent by Loki, establishing it as a fragile world under Asgard's protective oversight. The concept culminates in Thor: Ragnarok (2017), where Ragnarök unfolds not on Asgard but influences Midgard through Hela's conquests and the scattering of Asgardian survivors to Earth, blending Norse apocalyptic themes with superhero narrative to highlight Midgard's centrality in interstellar conflicts.^[33] The 2018 video game God of War, developed by Santa Monica Studio, reimagines Midgard as a vast, explorable open world steeped in Norse mythology, serving as the primary setting for Kratos and Atreus's journey through frozen landscapes, ancient ruins, and encounters with gods and creatures. Faithful to mythological sources, Midgard is portrayed as the mortal realm encircled by a great wall built by the gods to contain giants, now in a post-Fimbulwinter era marked by desolation and the encroaching Ragnarök, allowing players to traverse areas like the Lake of Nine while uncovering lore through environmental storytelling and dialogues with figures like Mimir. This adaptation emphasizes Midgard's role as a bridge between human frailty and divine turmoil, with meticulous attention to Norse cosmological details such as the world's creation from the giant Ymir's body. The sequel, God of War Ragnarök (2022), expands on this by making Midgard a key battleground in the events leading to Ragnarök, depicting its flooded, ruined state after Fimbulwinter and featuring quests that explore its mythological history and connections to other realms, further integrating themes of protection and cosmic balance. The 2023 Valhalla DLC concludes the Norse saga with additional Midgard content focused on psychological and mythological reflection.^[34]^[35]^[36]

References

[1]
https://www.gutenberg.org/files/18947/18947-h/18947-h.htm#chap04
[2]
https://www.gutenberg.org/files/18947/18947-h/18947-h.htm#chap05
[3]
https://www.gutenberg.org/files/18947/18947-h/18947-h.htm#CHAPTER_VII
[4]
https://www.gutenberg.org/files/18947/18947-h/18947-h.htm#CHAPTER_XIV
[5]
https://www.gutenberg.org/files/18947/18947-h/18947-h.htm#CHAPTER_XIII
[6]
The Poetic Edda: Grimnismol | Sacred Texts Archive
The stones were made out of Ymir's teeth and such of his bones as were broken. Mithgarth was a mountain-wall made out of Ymir's eyebrows, and set around the ...
[7]
https://www.gutenberg.org/files/18947/18947-h/18947-h.htm#CHAPTER_XVI
[8]
Yggdrasil and the 9 Norse Worlds - Heritage Daily
Aug 2, 2018 · Midgard is a realm inhabited by a race known as humans, surrounded by an impassable ocean encircled by the great sea serpent Jörmungandr. The ...
[9]
https://mythopedia.com/topics/nine-realms
[10]
The Nine Worlds - Norse Mythology for Smart People
### Summary of the Nine Worlds Arrangement
[11]
Yggdrasil - Norse Mythology for Smart People
Yggdrasil (Old Norse Yggdrasill or Askr Yggdrasils) is the mighty tree whose trunk rises at the geographical center of the Norse spiritual cosmos.
[12]
Nine Realms of Norse Cosmology - World History Encyclopedia
Dec 20, 2018 · Nidavellir/Svartalfheim. The realm of Nidavellier/Svartalfheim was below Midgard ... Midgard is the realm of human beings in Norse mythology. The ...
[13]
Nidavellir/Svartalfheim - Norse Mythology for Smart People
### Summary of Svartálfaheimr's Position Relative to Midgard and Other Worlds
[14]
Midgard - Norse Mythology for Smart People
Midgard is one of the Nine Worlds of Norse mythology and an important concept in the pre-Christian worldview of all of the Germanic peoples.
[15]
https://en.wikisource.org/wiki/The_Prose_Edda_(1916_translation_by_Arthur_Gilchrist_Brodeur
[16]
Midgard - Etymology, Origin & Meaning
Originating from Old Norse miðgarðr, meaning "middle enclosure," this word in Germanic cosmology denotes the human world, distinct from the gods' Asgard.
[17]
Reconstruction:Proto-Germanic/midjagardaz
Proto-Germanic. Etymology. From *midjaz (“middle”) +‎ *gardaz (“yard, enclosure”). Noun. *midjagardaz m. The world; (Germanic cosmology) Middle Earth ...Missing: *midja- scholarly
[18]
Etymograph of proto Germanic *midjagardaz - EvoSem
11 reflexes of proto-Germanic *midjagardaz ; Norwegian Nynorsk, Midgard, Midgard, middle earth ; Danish, Midgård, Midgard.
[19]
Anon Bjark 4III - Skaldic Poetry of the Scandinavian Middle Ages
Meissner 239, SnE 1998, I, 45-7 and Þorm Lv 10/2I). In this kenning miðgarðr, normally the name for the world of humans in Old Norse myth, provides a base ...
[20]
1.1. What is skaldic poetry of the Scandinavian Middle Ages?
While Snorri and Óláfr chose mostly dróttkvætt stanzas composed largely by Norwegian and Icelandic skalds of the ninth to early thirteenth centuries, the Fourth ...
[21]
Bede's Account of the Poet Caedmon
As comparison with the strictly composed Beowulf shows, it observes the principles by which the principal alliteration is a nominal in the second half-line ( ...
[22]
Luke 2:1-14 - The Linguistics Research Center
In Luke 2.14 we find an instance of the Gothic translation remaining more faithful to the Greek than the English of the King James Version. Where the ...
[23]
[PDF] POETICAL INSPIRATION IN OLD NORSE AND OLD ENGLISH ...
Nov 28, 1997 · Skaldic poetry seems to have been a restricted code to an even less extent than Anglo-Saxon or Old. French poetry, which was probably ...
[24]
[PDF] 2 Germanic Languages - eScholarship
The two major groups of Germanic languages are North Germanic (Scandinavian) and West Germanic, including English, German, Dutch, and Frisian.Missing: Midgard | Show results with:Midgard
[25]
The Poetic Edda: Voluspo | Sacred Texts Archive
The Voluspo is a famous Eddic poem where a wise-woman tells Othin of the past, the world's creation, and the final destruction of the gods.
[26]
The Poetic Edda: Grímnismál - Germanic Mythology
40. From the flesh of Ymir the world was formed, from his blood the billows of the sea, the hills from his bones, the trees from his hair, the sphere of heaven ...
[27]
Gylfaginning | Sacred Texts Archive
Angrboda was the name of a certain giantess in Jötunheim, with whom Loki gat three children: one was Fenris-Wolf, the second Jörmungandr--that is the Midgard ...
[28]
Edda Snorra Sturlusonar - skáldskaparmál - Germanic Mythology
' Thor was by no means anxious to avoid the fight when challenged to the field, for no one had ever offered him single-combat before. "Then Hrungnir went ...<|separator|>
[29]
11. Kennings for Thor - Voluspa.org
Kennings for Thor. What figures should be employed to periphrase the name of Thor? Thus: one should call him Son of Odin and of Jörd, Father of Magni and ...
[30]
Prologue | Sacred Texts Archive
### Summary of Snorri's Euhemeristic Account in the Prologue
[31]
(PDF) Journeys to the Otherworld in the Icelandic Fomaldarsögur
otherworld, but as in Helgi's saga the hero dies at a specified time. Other icelandic folktales bear only the most general resemblance to the otherworld.
[32]
Ph.D. Thesis: Asgard Revisited. Old Norse Mythology and Icelandic ...
... Romantic nationalism chronologically, see Joep Leerssen, When was Romantic Nationalism? ... The Swedish research project Vägar till Midgård (2000-2007) presented ...
[33]
Not All Icelandic Trolls Are Villains: A Tale of the Skaftafell Farm ...
Nov 8, 2024 · Most Icelandic folklore stories tell of mean trolls that do harm to people. Hear a story of a benevolent troll in Iceland's Skaftafell ...
[34]
Letter 165 - Tolkien Gateway
Oct 1, 2024 · Tolkien expressed his surprise and gratitude for the success of The Lord of the Rings. He admitted that the book was originally written to satisfy himself.
[35]
War of the Realms: The Ten Realms of the Marvel Universe
Mar 25, 2019 · Midgard is where Thor met Jane Foster, a human woman, who would later go on to take up the mantle of the god of thunder herself. Earth was ...
[36]
Examining 'God of War's' Reinterpretation of Norse Mythology - Variety
May 28, 2018 · Translating the ashen-skinned “Ghost of Sparta” from the series' baroque vision of mythic Greece to an entirely different culture proved to be a lot harder.
[37]
God of War - PS4 Games | PlayStation (US)
4.5 15K · Free deliveryKratos, a father, mentors his son Atreus in the Norse realm, fighting to survive and control his rage, with brutal combat and a moving narrative.