It is often said of the Nordic goddess Freyja that she is a goddess of sexuality. While that might very well be the case, the notion is often carried out into the murky realm of whoredom which folk seek to rebut simply by trying to recast “bad” as “good”. Lending to this notion of “Freyja as whore” folk will cite the Eddic lore that states that she has lain with all of the gods, her own brother included; that she is comparable to the mythic goat Heidhrun prancing about in heat, and of course the tale in which she lays with four dwarves so as to win the fabled necklace Brisingamen. Of course, the first two bits of lore come, within the stories, from the mouths of her detractors (Hyndla, Loki) and can hardly be taken at face value, while one of the Icelandic sagas, Njal’s saga I believe it was, relates how a Christian Icelander was outlawed for calling the Vanadis a whore/bitch. So, all we truly have in this regard, beyond some very questionable hearsay, is the tale of the Brisingamen, the precise nature of which we today are left largely to guess at.
My purpose however is not to disprove Freyja’s association with sexuality or, really, to wax at all academic on the matter. Rather I would simply shake up such conventionally accepted notions as surrounds the goddess and offer a perception of her that is not the product of those out to discredit and undermine her (and indeed out indigenous beliefs themselves as a whole) by an utter reluctance to see beyond the base carnal realities that all higher truth is rooted in.
It is that “higher truth” that we should be interested in.
As with all good lies, there may indeed be some kernel of truth to the words of Freyja’s detractors. Freyja may indeed have been regarded as having a strong sexual component. Rather than casting her as some two-bit mortal whore however, one might be inclined to say that she is the spirit of the passion that exists between lovers. And so that where there are lovers engaged in a “passionate embrace” there is Freyja. Following these carnal lines alone, one might say, in this regard, that highest expression of Freyja would have been more similar to Hinduisms Kama Sutra and certain Tantraic teachings rather than the “Girls Gone Wild” nonsense of the low-minded and uncultured.
Indeed, I have reason to believe that the magical art of seidhR, that is so strongly associated with Freyja, and was so “strongly opposed” by the early Church in Norway, was a cult that taught mysto-magical arts of seduction, ie. the generation of sexual energy and it’s use to manipulate the mind of other beings.
But as the spirit of sexual passion, to refer to Freyja as a whore is to misunderstand and cheapen the fundamental value of sexuality, the intense passion of lovers for one another, and to drive the very spirit of passion itself from one’s bedroom; a passion that extends well beyond the bedroom and into the higher realms of passionate devotion for one another as reflected in the supreme value the indigenous Germanic people placed on monogamy, and mythically reflected in Freyja’s own longing for her absent lover OdhR (Mental Excitement).
But Freyja is more even than the spirit of sexuality, or even of passion in general, but also of sensuality and what my high school Western Civ. teacher would have called “the aesthetic experience”; which itself was basically a recasting of Plato’s hierarchy of thought. Freyja promotes a fine appreciation of all the better things in life, noting, indeed, relishing in their fine and subtle details, like the brush strokes of a painting, the subtle differences in taste of a fine wine, etc.
A stately connoisseur of beauty. A Lady. A Freyja.
Indeed, I would tend to think that much of Freyja-lore survived, after a fashion, and can be gleaned in Eleanor of Aquitaine and her so-called “court of love”, where the ideas of ideas of courtly love, chivalry and the troubadours were brought together; not so much as a pure expression of Eleanor’s native Germanic spirit, but as a reaction of that spirit to the increasingly rigid structure of NW European society that began with the absorption of southern European culture and the introduction of Abrahamic Christianity.
The knightly notion of the lady as muse, be it in battle, or as found re-expressed in the Renaissance, in the production of art.