Æsir gathered around the body of Baldr. Painting by Christoffer Wilhelm Eckersberg 1817

Baldr: The Shining God Who Shines No More

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Known among the pre-Christian Scandinavians, and the gods themselves, as the "Shining God", Baldr was the image of perfection in the Norse religion, and the pride and joy of the Æsir (members of the principal pantheon of deities).  The second son of Odin and his wife Frigg, Baldr was beloved and adored by his fellow gods—in the minds of the Æsir, he could do no wrong and no wrong could be done to him.  He was the husband of Nanna and the father of Forseti, and dwelt with them in his hall of Breidablik, located in the Norse equivalent of Heaven.  Nothing unclean could exist in this realm, thus the highest of all courts existed here; with the aid of this skillful son, all judgments in Breidablik were absolute and pleasing to all parties.  The irony of such a life as perfect as Baldr's is that few specifics exist of it.  The Shining God is instead best remembered for the circumstances of his death.

The death of a god poses an interesting deviant from the usual belief that gods are immortal and invincible.  The gods of the Greek and Roman pantheon all existed permanently, and this is a standard for ancient otherworldly beliefs.  However, in the Norse religion all gods were meant to perish.  There was a specific time and place known to the Æsir where they would fall - at the fated event of Ragnarök - and they knew its occurrence was inevitable.  Baldr's death is the first sign that Ragnarök is on the horizon, thus the death of the purest god is not only heartbreaking, but terrifying.

A scene from the last phase of Ragnarök by Emil Doepler, 1905

A scene from the last phase of Ragnarök by Emil Doepler, 1905 ( Wikimedia Commons )

Baldr's death is best recounted in the Poetic Edda , a compendium of poems collected by an unknown author.  According to this account, and agreed upon by a variety of artifacts and other literature, Baldr and his mother Frigg (sometimes called Frigga) both began to dream of Baldr's untimely death.  Odin went at once to awaken the völva, a female prophetess, who concurred that Baldr was indeed meant to die, symbolizing the first sign that Ragnarök was nigh.  In fear, Frigg tried to fight this decree, pleading with all the people and things in the nine worlds to do Baldr no harm and let him live out his life in peace.  All but the plant mistletoe pledged this oath, as it is said that Frigg believed mistletoe was too young and innocent to understand the weight of such a pledge, and thus it was unnecessary to ask it to agree. 

As word tends to travel fast in the godly realm, it was not long before Loki, a brother of Odin who took pleasure in all things mischievous, fashioned a spear (or in some cases an arrow) out of the very plant itself.  The other gods had decided to make a game of Baldr's new imperviousness and were spending their time throwing all sorts of dangerous objects and weapons at Baldr, amused when they did not harm him.  Loki went to this gathering and took Baldr's blind brother Höðr aside, convincing Höðr to throw Loki's weapon at Baldr for the fun of watching it fail to injure him.  Innocently taken advantage of, Höðr did as Loki requested and inadvertently killed his shining brother, leading to his own death at the hands of another of Odin's sons, Váli. 

Each arrow overshot his head (1902) by Elmer Boyd Smith

"Each arrow overshot his head" (1902) by Elmer Boyd Smith. Public Domain

The whole world wept for Baldr.  He was given a proper Viking warrior's funeral, laid upon a burning pyre on his ship Hringhorni, the largest of all ships.  With him burned his horse, a dwarf called Litr, and his wife who could not bear to live without him.  When the pyre blazed high, the giantess Hyrrokin was tasked with setting him out to sea, causing the whole earth to shake furiously with the force of her thrust.  Frigg made one last attempt to see her son again following his descent into Niflheim, the Norse variation of Hell—ruled, quite interestingly, by Loki's daughter Hel herself.  And unlike her father, Hel understood the grieving mother's request as reasonable.  If all things on earth would weep and mourn for the dead god, Hel would return Baldr to the surface, allowing him to defeat death.  Frigg travelled the nine worlds of the Norse realm immediately, begging everything and everyone to cry for the lost god.

Baldr's death is portrayed in this illustration from an 18th-century Icelandic manuscript

Baldr's death is portrayed in this illustration from an 18th-century Icelandic manuscript. Public Domain


All history fascinates me. I am particularly interested in theology and WWII.

All history fascinates me. I am particularly interested in theology and WWII.

Snorri did not write the Poetic(or Elder) Edda. It is much older and the author(s) are not known. The Voluspa's Prophecy is the first part of the Poetic Edda.

Thank you very much for this comment! I went through my data and noticed I did, in fact, improperly cite this in the article itself. I have contacted my editor to correct it. I appreciate your feedback!

"The death of a god poses an interesting deviant from the usual belief that gods are immortal and invincible".

The story of Balder deals with the global mythical term of "the dying and rising deity" - Do you own search.

As "a son of Odin and Frigg, residing in the heavenly Breidablik, Balder is of course also a figure in the sky. All figures in the sky seemingly revolves because of the Earth rotation, and different lower celestial figures (star constellations) appears and disappears in the horizon as the Earth orbits the Sun.

My guess is that Balder is connected to the Orion constellation and its annual motion. Going under (dying) and invisible in summer and rising in the winter season.

If so, I´m fairly sure that Odin represents the Milky Way contours on the northern hemisphere and Frigg represents the Milky Way on the southern hemisphere, the "Underworld". - http://native-science.net/MilkyWay.Mythology.Keys.htm

That is in generally: Myths of the primeval deities really tells a concrete astronomical story (also a concrete story of creation) and the Norse “Ragnarok” underpins the cyclical celestial motions as such.

Ivar Nielsen


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