In earlier research Skírnismál was primarily looked upon as a myth of vegetation. The
classical analysis of Magnus Olsen ( 1909 ) interpreted Freyr as a god of heaven who
in holy intercourse with the goddess of earth, Gerðr, regenerated the vegetation in the
springtime.
It is however possible to argue that the myth of marriage between the god and the
giantess has much deeper political and ideological connotations. When a giantess
emerges on the mythical scene, it means as a rule that something new is coming
forth. The wild women are shaking the gods in their rest, they force the gods to activity
and deeds. Using an iconographic perspective, one may discover that the myth points
to the rulership of the pagan north. Several literary sources disclose as well that the
hieros gamos myth has been multi-functional, containing an aspect of enthronisation, a
genealogical myth and a myth legitimising the ruling families of ynglingar and earls of
Lade.
The story of Skírnismál is determined by a set of requisites: high seat, apples, ring and
staff, on an iconographical level these elements point to the prime kingly regalia. The
high seat is the king’s throne, and the three groups of requisites, apple, ring and staff,
represent the kingly regalia from antiquity in use in Europe. The apple was the symbol
of the cosmos (the globe), the ring and staff are well-known signs of dignity and power.
People in the north obviously did have knowledge of the symbols of European kingship
quite early on.
By analysing the myth of Skírnismál in relation to other sources dealing with the
ideology of kingship, primarily Ynglingatal, Ynglinga saga, Háleygjatal and Hyndluljóð
(Steinsland 1991 ), one may see the outlines of a mythical pattern that concerns the
ideology of kingship. Other sources tell that a son, the prototypical ruler, is the result of
the erotic alliance between the mythical parents. Snorri Sturluson tells in Ynglinga saga
(ch. 10 ) that the first of the kings of the Ynglingar, Fjo ̨lnir, is the son of Freyr and Gerðr.
Thus Snorri seems to have knowledge of the function of the hieros gamos myth as a
genealogical myth connected to the ruling family. His main source is Ynglingatal and
traditions connected to the poem that most scholars link to the poet Þjódolfr or Hvini,
dated approximately to 870.
The myth of the holy marriage between a god and a giantess has also been used as a
genealogical base for of the greatest ruling family in Trøndelag in Norway, the family
of the earls at Lade. The genealogy of the earls is presented in the praise poem
Háleygjatal, which is approximately a hundred years younger than Ynglingatal, created
by Eyvindr Finnsson skáldaspillir. In the tradition of the earls, the mythic proto-parents
are Óðinn and the giantess Skaði. From this couple comes the first earl: Sæmingr.
What does the strange myth about a marriage across the borders of gods and giants
mean when it comes to the actual ruler? In the mythology the giants are known as the
gods’ antagonists. The threats against the gods always come from the Jo ̨tunheimar. When
the prototypic ruler is presented as the son of a god and a giantess, it means that the
actual ruler in himself contains the whole spectrum of cosmic powers. The ruler is
representing both the qualities of the gods, their will and ability to order, and the
enormous creativity and primitive force of the giantesses. It is as an exceptional holder of
godly abilities and primitive force as well that the actual ruler comes out as number one.
It is from his dual origin that the ruler gets his outstanding destiny. The myth of the
twofold origin of the rulers explains why the destiny of the ruler is rather tragic or even
may be called apparently dishonourable.
–– Gro Steinsland––