Hel: The Norse Sovereign of the Afterlife
In Norse mythology, Hel reigns as the queen of the shadowy realm known as Hel. She is conceived as the offspring of Loki, the trickster god, and Angrboda, a giantess, with siblings including Fenrir the wolf and Jörmungandr, the World Serpent. While often categorized as a goddess, Hel embodies characteristics of both a half-goddess and a jötunn—one of the beings that dwell in Jotunheim, the land of giants.
Her name signifies “hidden,” referring to the deceased whose physical forms are either interred or cremated, rendering their spirits undetectable to the living. Many experts concur that Hel did not originate in pre-Christian Scandinavian tradition, but rather emerged through the narrative constructions of the Icelandic historian Snorri Sturluson (1179-1241). Sturluson, writing within a Christian framework, tailored pagan myths to align them with Christian sensibilities, thereby altering foundational aspects.
Modern scholarship suggests that Hel might not have existed in the beliefs of pre-Christian Scandinavians, and it appears her characterization as a deity may represent a later adaptation. Originally, Hel was seemingly a geographical term synonymous with “the grave,” devoid of a personified overseer. In descriptions, Hel is often portrayed as a figure who is half fair maiden and half decaying body, diverging significantly from the portrayal of Hela in the film Thor: Ragnarök.
The Deep Origins of Hel & Loki’s Offspring
Norse sagas, passed down orally for generations, were recorded only after Christianity had spread. The earliest writing utilized runes, an alphabet primarily used for brief inscriptions, such as those found on stone memorials. Scholar John Lindow notes that Scandinavian society during the Viking Age relied largely on oral tradition, with most knowledge preserved in human memory rather than being documented in books. This means that significant transformations likely occurred in oral storytelling, preventing us from assuming unchanged passages through centuries.
This variability applies especially to the figure of Hel. Rudolf Simek asserts that pre-Christian belief in Hel as a goddess is unsupported, though the lack of written records makes it impossible to definitively ascertain the faiths prior to Christianization.
The first recorded mention of Hel is found in the 13th-century Gylfaginning of the Prose Edda, where she is identified as one of Loki’s three children born from the giantess Angrboda. Foreseeing trouble from the trio, the gods—led by Odin—seek to contain them. Odin takes Hel to Niflheim, where he grants her dominion over the Nine Realms, overseeing the souls of the departed.
Hel’s Domain
Hel’s realm is situated to the north, accessed by a pathway descending across a bridge over a river filled with spears, culminating at a gate secured by the wolf Garm. This domain primarily accommodates those who succumb to old age or illness, though others may find their way there. It is essential to note that Hel does not serve as a place of punishment; rather, it is a resting ground for souls.
Warriors who die in combat ascend to Odin’s valiant hall, Valhalla, while those lost at sea are claimed by the goddess Ran. The souls of ordinary people tread the fields of Fólkvangr, overseen by Freyja. Hel’s domain is marked by a cold and dim climate, characterized by an ambiance of gloom rather than torment. Here, the deceased experience a semblance of care, as demonstrated when the god Baldr is received with splendor upon his arrival.
Interior of Hel’s Palace
Hel’s hall is known as Eljudnir, and its symbolic attributes highlight the dismal nature of her abode. Her table and utensils are given names implying hunger and lists of discomfort, such as “illness” and “bleak misfortune.” While it is uncertain why some souls dwell in Hel instead of Fólkvangr, it appears that many who did not die heroically find themselves in her kingdom. Among these are Baldr and his spouse Nanna, who are especially noteworthy.
The Tragic Tale of Baldr
Baldr’s demise is one of the most renowned tales from the Viking Age, elaborated by Sturluson in chapter 21 of Gylfaginning. Although Hel is only briefly featured, her presence is felt throughout. In the narrative, Baldr, beloved for his beauty and wisdom, is beset by troubling dreams that alarm the other gods.
To uncover the truth behind these nightmares, Odin ventures to Hel, where he encounters a witch. This encounter reveals that preparations are underway for Baldr’s arrival in Hel, heightening the sense of doom surrounding the young god. The divine realm is stunned when Frigg, who desires to protect her son, secures promises from everything in existence, save for the mistletoe.
Seizing upon this oversight, Loki instigates tragedy by facilitating Baldr’s death with a mistletoe dart thrown by Baldr’s blind brother Hodr.
Hel’s Bargain
In mourning for Baldr, Frigg beseeches the gods to send a messenger to negotiate his return with Hel. Hermodr volunteers and embarks on the journey to Hel’s realm. Upon reaching his destination, he encounters Modgudr, Hel’s guardian, before entering her hall, where Baldr is honored despite his fate.
Hel agrees to release Baldr but stipulates that every entity in existence must weep for him. While most comply, the giantess Thokk (hinted to be Loki in disguise) refuses, ultimately sealing Baldr’s fate in Hel until the fateful end of Ragnarök.
The Events of Ragnarök
Ragnarök signifies the gods’ ultimate battle, culminating in destruction and rebirth within the Nine Realms. In the wake of Baldr’s death, Loki is punished, and his offspring face measures imposed by the gods. As the world spirals into chaos, Hel plays a part in summoning the army of the dead.
The cataclysmic event results in a destructive conflict where most gods are vanquished, and complete annihilation appears imminent until order prevails. Though Hel retreated into the shadows, her influence is felt throughout, as the mortal world transitions into a new cycle of life.
Conclusion
Hel continues to embody the hidden aspects of death within Norse mythology, representing a deeper understanding of mortality. While her role in Ragnarök may be understated, she highlights the extraordinary nature of death, a force that bears its weight quietly yet profoundly influences the living. The dichotomy of her being—a beautiful woman on one side and a decaying corpse on the other—symbolizes the ever-present nature of death and its power to transform life in an instant.
