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Of wolves and men: the Berserker and Vrātya

lupine symbolism is said to be one of the defining points of the Indo-European traditions, and indeed it is difficult cite an Indo-European civilization in which the wolf did not occupy an important role since the birth of Romulus and Remus and the founding of Rome to the modern world the wolf has always occupied a prominent position in the mind of the Indo-European. This is evident even today – even Hollywood can not ignore the lone wolf figure at night, for the werewolf has survived in the popular myth of this day. A number of important deities, from Odin to the Greek Apollo, is a wolf at his side. The wolf, and occasionally, his cousin dog the dog, the animals were important ritual can not be doubted, at times, although the importance of these animals crossed the world natural desert civilization man's world, where the boundaries between human and animal became blurred. One of the occupants of this space of transition is the werewolf, and another figure is that of the Nordic or Teutonic Berserker. Even still older, is the story of the Vrātya, dating from the most archaic Vedic society, almost completely buried by the past. The rabid and Vrātya the whole make up what is perhaps one of the oldest traditions, both share a number of important features in common, which is scattered among other Indo-European peoples as well; brotherhoods existed between the Greek martial (Indo), Scythians, Persians, the Dacians, the Celts and the Germans assumed that magically starts lupine features. [1] Known in part by his anger at the combat, in part by the use of magical means to subdue the enemy, these myths persist today in the popular myth of the werewolf. While the literal translation the berserker is 'warriors in shirts (Sekr) Bear', the berserkers were thought to be also capable of changing its shape into that of a wolf. [2] For the purposes of this letter we will focus only on the symbolism of the wolf.

The fact that the Berserker was linked strongly to the wolves, as well as possession of the aforementioned, the association with the bears is illustrated by the use of its alternative title of "wolf-coat. [iii] It is likely that this name was used in connection with the use of some symbol of the wolf as a wolf skin belt, popular tradition in Norway records that the form-changers were men turned into beasts by night and put on a wolf skin belt before leaving the house. [Iv] The traditional clothing of the wolf-skin layer also shows the Hrafnsmál, poem c. consists of some 900 AD, in which the berserkers are described as privileged warriors Harald I of Norway in Vesthold are described as receiving rich gifts King for their fierce fighting qualities, and is also known as "wolf-coats" [v]

Wolf-layers are called, who carry swords

Stained with blood in battle.

It redden spears when they come to the slaughter,

Acting together as such. [Vi]

Connection between the Berserker and lupine / canine symbolism can also be seen in the Icelandic Eddas whose name Hundingr. As king of Hundland, "dogs of the earth" [vii] Also, the pre-tenth century Anglo Widsith Hunding as people mentioned the dog-headed, while the "werewolf" (ulfhednar) military brotherhoods Germanic tribes fought elsewhere with "half of the dogs" (halfhundingas). [Viii]

One of the main functions of the Berserker was obviously predominantly related to the war, which were recorded as terrible opponents in battle, fight, since neither man nor beast, but a creature that shares characteristics of both. The Berserker Ynglingasaga described as follows: "There were no shields, and were mad as dogs or wolves, and a bit on their shields, and were as strong as bears or bulls, men who killed him, and neither fire nor steel treat them, and this calls berserker rage "[ix] This is also known as" to run mad "(berserkgangr) [x] No doubt about the fact .. that the Berserker was a fierce opponent and frightening – the questions are kept in the importance of their own wolf and the nature of self-transformation – was purely a tactical device to surprise the enemy, or was there a deeper reason behind this transformation bordering on being a spiritual essence? Georges Dumézil see the process as a mixture of the two, both tactical and spiritual.

Ynglingasaga text above says a lot, but not enough: the connection has Odinn berserker with wolves, bears, etc, was not only a similarity in the affairs of the strength and ferocity, in a direction were the same animals. His wrath be externalized a second living within themselves. The arts of costume (see the Harii corporaof tinct), costumes to which the berserker ulf HEDNA name and parallel ("men in wolf's clothing") seems to allude, serve only to help establish this metamorphosis, to impress friends and foes fear (again, cf. Tacitus, Germania, 38.4, in conjunction with the efforts of the Swabians to inspire terror) [xi].

Another aspect of the Berserker, here named and described by Tacitus Harji provides a quote in support of the tactics they use to terrorize the enemy.

They black their shields and stained black body, and choose your battles field nights. The terrible shadow of an evil army so inspired mortal panic, no enemy can withstand sight so strange and diabolical. "[Xii]

This not only paint a horrible face, but also attests to the vision of a demonic attack or magic, which takes place at night. The night before, of course, is the time of witchcraft and magic, which is also in the minds of the Berserker. Applications of animal motifs are a common feature of shamanic traditions, with the Nordic tradition that shares a number of features. In a society well, it was considered problematic to attribute more of a "soul" to a person. The "external form", however, was considered the most distinctive distinctive personality. [Xiii] Dumézil elaborates on this by examining the language of 'hamr "root and use contextual analysis in the imagination of the Berserker.

One word Nordic countries – with their equivalents in Old English and Old German – immediately introduces the essential in these representations: means hamr (1) a garment, (2) abroad, "form", (3) (most often derived hamingja) "a spirit attached to an individual "(actually one of their souls. hamingja cf" opportunity ") There are some men, with little leaves. for them, declaring einhamr: only hamr have one, and then some, apart from its heim-Hamra ("outside itself, fundamental"), you can take hamr others through action appointed by the reflexive verb hama-sk, are able to go on transformed (ham-hleypa). Now, the einhamr eigi berserkr exemplary, "the man who is not a single hamr." [Xiv]

The meaning here is clear – two souls dwell in the body. One of them is the spirit of a human being, the other a wolf. The Berserker is therefore not entirely man nor beast entirely – like its descendant the werewolf is a liminal creature that exists in a twilight world where the boundaries between man and animals are ill-defined – but both roads are closed to him, the Berserker can never truly belong in either area. As the patron deity of the Berserker Odin, which are shamanistic creatures associated with the tips of the normal modes of behavior, the creation of altered states of mind. This aspect of the god Odin is interpreted the origins of his own name for the Germanic Wōðanaz comes from 'wat-"Indo-European root. [xv] It is not only associated with Óðinn more cerebral ways of shamanism, the god is described as having the Ynglingasaga art of metamorphosis. [Xvi] Odin is described as having the power to change appearance and shape at will. [Xvii] In spite of this ability is at a low level in the image of the Berserker, seems to have gained the ability to have two souls in one body, and therefore the ability to hover between them, as a reflection of its association with Odin, who is the patron deity of the Berserker. The madman is Old Norse clearly in a long tradition of warriors who were the shapeshifters, able to transform into wolves havoc in battle. [Xviii]

It has been conjectured by the authors that the Berserker is applicable only to the Germanic and Nordic traditions. This is, however, an incorrect assumption of a similar figure similar to the Berserker can be found in an extremely archaic component of the Vedic religion. This dark entity, of which many aspects of their rituals and their existence remains unknown, is called by the title of Vrātya. Until recently very little was known about the history of Vrātya that is supposed to be little more than a collection pariah in Brahmin culture, living in forests and on the margins of acceptable society, and they were both revered and reviled. It was assumed that even after the Vrātya were non-Indo-European origin. While this statement today can boast false, the truth is that both elements of tantra and yoga can be found at Vrātya practices, which may well have played a shaman or contingency proto-yoga of the kshatriya caste. The evidence of a connection between Vrātya practices and found in Tantrism and yoga can be seen in the fact that a whole book of Atharva Veda (XV) is dedicated to them, and within it you can find statements saying the Vrātya were practitioners of asceticism, were familiar with a discipline of breathing and is used to standardize their bodies with the macrocosm. [Xix] Eliade even going so far as to say that it is legitimate to assume that a mysterious brotherhood represented Vrātyas belonging to the vanguard of the Aryan invaders. [Xx] In 1962, new evidence was also presented in the light of Jan Heesterman Vrātya describe as an extremely archaic component of Vedic sacrifice society, whose role has been progressively phased out with increasing the Brahmin varna as specialists of sacrifice. [Xxi] In this article Heesterman supports the hypothesis that Vrātyas then breaks down in the later literature and cast into a contradiction, mold, anti-Brahmin, with sattra rites survive in the Vedic rites of initiation and at certain periods of the vrata, or vote brahmacārin, Vedic student. [Xxii] Similarly in the Śunaḥsakha Indra is a reference to Vrātyas, which says its socio-religious situation was once as high as the Brahmins. [Xxiii] With the rise of the Brahmin caste, Vrātyas role in the ritual was reduced, eventually to the point that it became degraded within Vrātya themselves and were judged to be ritually impure. This decline is witnessed by the fact that there is a ritual that is performed specifically to restore Vrātya to members of the Brahmin society, removing the impurity of their previous actions.

Like the Berserkers, the concern Vrātyas Sometimes as dogs in various passages. The most striking of these is a step in the Upanisad Chandogya … The passenger is entitled "[Samavedic] Song of the dogs." [Xxiv] The Vrātya not only strongly associated with canine images (the texts repeatedly refer to them as "dogs") are also strongly related to the Vedic god Rudra, acting not only as the god of the forest, but also the deity associated with shamanism and the storm – just as the gods Nordic equivalent of Odin. Falk is a step in the comparison of the two deities, claiming that the sacrifice of twelve days were related Vedic Vrātyas ritual in other Indo-European phenomena, including the Roman Lupercalia and the twelve nights of Christmas, in which the wild hunter Wode Wodin roared through the forests of northern Europe. [Xxv] On the other hand, when the Vrātyas kill a cow on behalf of Rudra, who is said to be his "dogs" or "wolves", and lupine or symbolism canine is nearly as abundant in case the Vedic Rudra, as it is in that of Indra. [Xxvi] The parallels between the worship of Rudra, the wild hunter of the forest, and the Óðinn Germanic / Wodin and the Iranian Aesma and a number of other Indo-European gods associated with the twelve nights of winter, are also important here. [Xxvii]

There are common elements in the symbolism of what we have discussed so far – the Berserker, the Vrātya are a type of people who do not fit the normal roles of civilians. Both the Berserker and Vrātya which at the same time feared and revered by the community. Experts as strong figures in magic and war, the public admired, but also there was a feeling of fear caused by these figures. First they feared his power, which has not always been entirely under the control of the Berserker. There was always danger to associate with them, his animal nature, such as the wolf is unpredictable, and unlike its canine cousin, the wolf has been tamed. Therefore dangerous. This attitude ambiguity towards Berserker and Vrātya the spread to other areas – it seems that both figures there is a clearly defined line between their duties caste. They are a synthesis between the members of the warrior caste and the priestly caste, in the Hindu caste system and the Nordic countries. Since a particular Vrātya archaic, this suggests that the legacy of both original and Berserker Vrātya may have its roots in a time before the separation (and subsequent antagonism) of two primary castes. Seemed to operate under a dual role of being a warrior who is also a wizard – this is especially clear in Norse mythology where the Berserker are described as the companions of Odin, and the case is also clearly Vrāyta Heesterman that figure in the early Vedic priests who became replaced by the rise of the Brahmin caste. In addition, the symbol of the hamr or outer garment, we see a double symbolism taking place – two souls inhabiting one body, one wolf a human. The Berserker Vrātya and are rightly classified as never to be one or the other, but a synthesis dangerous of the two. All three of these issues can be expressed by a simple concept – the symbolism of the Vrātya and Berserker is always liminal liminal a. The word means "intermediate state" and was coined by Arnold van Gennep explain the states that are "middle" or ambiguous.

The attributes of liminality or of liminal characters ("threshold people") necessarily ambiguous, since this condition and these persons elude or slip through the network of classifications that normally locate states and positions in space cultural. liminal entities are neither here nor there, but they are among and between the positions assigned and arranged by law, custom convention, and ceremonial. [Xxviii]

These statements, moreover, not only in general terms the nature characteristic of individuals, liminality can be seen in terms of time and events. All the transient may be a liminal time – Examples are periods of transition from day to night (dawn or dusk) or specifically in the case Berserker Vrātya of and during the times when you can not tell if they are human or lupine in nature. One example of the transition between day and night being connected with the metamorphosis of rage can be seen in the saga of Egil, which records the life of a "retired" Berserker called Ulfr:

After many glorious married campaigns, increased welfare, was kept busy with their fields, their animals, their workshops, and won wide esteem for the good advice so freely distributed. "But sometimes, when night fell, became umbrageous (styggr) and few men could talk to him, then fell asleep at night (var hann kveldsvaefr), spread the rumor that was hamrammr (ie morphs and goes on the night). was named Kveldúlfr, Wolf of the Night "[xxix]

In this excerpt is amply illustrated that the Berserker was dangerous, even when they did not occupy the role of being a Berserker, even in "retirement" Berserker's remains in a preliminary paper, separate from the normal modes of civilization. Self-transformation, with the period from day to night can also have echoes in the Vrātya whose secret rituals in the woods were replicas of the solar year, made in the winter to restore the power of the sun. In the extract earlier, however, a clear difference between the rabid and Vrātya he can see – the Berserker, but "retired" has not completely returned to normal society, while a former member of the ceremonial Vrātya is restored and purified before re-entering the Brahmin society. It is the liminal nature of your being that makes them dangerous, paradoxically, is also the liminal nature of his being that empowers them. Another example of a liminal period can be seen in psychological states – for example, started prior to carrying out an initiation ritual is thought to be a normal person, after the ritual of a change of some kind is presumed to have taken place in the psyche of the initiate.

Although little is known about initiation practices of the Vrātya, the Saga Volsunga beliefs describes what Eliade be a process Beginnings for the Berserker.

The initiation topics here are obvious: the test of courage, endurance of physical suffering, followed by transformation magic wolf. However, the compiler of the Saga Volsunga was not aware of the original meaning of the transformation. Sigmund and Sinfjotli accidentally find skins and do not know how to remove them. Now the transformation into a wolf, that is, the ritual of dressing a wolf-skin is essential when initiating a society secret men. By putting in the skin, initiated similar behavior of a wolf, that is, became a wild beast warrior, irresistible and invincible. "Lobo" was the designation of members of the Indo-European military company. [Xxx]

The case here is that in relation to Eliade, and therefore the perception as a rite of passage occurs early in the series, and can be found in history in which Sigmund and Sinfjotli are dressed in wolf skins.

Once, we were the forest again to get some wealth for himself and found a home. Inside were two men sleeping, with thick gold rings. A spell had been cast about them: wolf pelts hung over them in the house and only every tenth day could shed skins. They were the sons of kings. Sigmund and put the skins Sinfjotli in and could not get away. And the strange power was there as before. Howled like wolves, both the understanding of the sounds [xxxi]

The fact that transformation is not purely physical is alluded to by the fact that once wore wolf skins, and not known to people, but "like wolves howling. For On the other hand, understands the meaning of the sounds, which means that it was not simply an imitation of wolves howling, but was being used as a means of communication. This indicates that during Sinfjotli Sigmund and not just imitating the shape of the wolf – a psychological change had also taken place, allowing them to think like a wolf. The fact that the two men described sleeping here have thick gold rings may also be of importance, however the translation of the Saga Volsunga cited no describes the location of the two rings. In another description of the Berserker, we find a clear mention of the rings, not gold, but iron, and are also connected with the rites of initiation of the Berserker. In a passage of the Chatti, a Germanic tribe described by Tacitus in the century, the following quote can be found.

"They wore iron rings around their necks, and could only get rid of these after he had killed an enemy. Some indeed chose to bring all his life, whenever he could continue fighting, and as old warriors always lies to begin the battle. [Xxxii]

Thus, the rings around necks of the bedrooms can not be purely ornamental, but rather an indication of the state. As the translation consulted do not mention the location of the rings, no But nothing definitive can be concluded. Not specified in the text as to whether these rings in the Saga Volsunga which is worn around the neck or hand. It seems likely, however, in the context of the saga, they would have been neck rings, which are used by the rabid to show their servitude to the god Odin. Without a description of the location of the rings, however, nothing definitive can be concluded in this regard.

The danger of the wolf skins and its ambiguous role in society also is related in the history of Sinfjotli and Sigmund. The animal nature of the wolf is not always completely under control, and this can be seen in the extract of the Volsunga Saga in which Sigmund Sinfjotli attacks.

"You agreed to help kill seven men. I am a child in age to her, but did not request assistance in the death of eleven men." Sigmund jumped on him so strongly Sinfjotli stumbled and fell. Sigmund bit him on the trachea. That day could not get out of the wolf pelts. Sigmund established Sinfjotli over his shoulder, led to a home to the hut, and sat on it. He cursed the wolf skins, to make an offer to take them trolls. [Xxxiii]

Man's nature is sometimes in contrast compared with in harmony with the nature of the wolf. The nature of the wolf, in combat, is extremely valuable, is a great power. If you are not completely controlled, however, can become a great curse, as seen in the history of Ulfr, retirees Berserker. Here we also see the wolf skins being cursed, and indeed, once and Sigmund Sinfjotli successful in removing the skins of wolves, they burn in the fire.

Then they headed to underground dwelling and remained there until he went to get the wolf pelts. They took the skins and burned in the fire, hoping that these objects do not cause more damage. [Xxxiv]

In conclusion, there seems little room for doubt that the case is justified for the comparison between the Berserker and the figure of Vrātya – Occupy a similar dual role, as a warrior and the priest or shaman. Both have not been met only by the general population, but is also feared by them. Also share the canine and / or symbolism of lupine, and both are associated with similar deities, by Rudra and Odin also share some common characteristics. Such Once the main difference between the two figures lies in the contrast between his duties for an extended period of time (taking into account the Vrātya existed at the level Vedic basic substrate, making them extremely archaic). The Berserker does not suffer the same social stigma as the figure of Vrātya. A retired Berserker feared, not to be transformed against their will, but was not considered as an object of the 'impurity' as the Vrātya came to be considered. The Vrātya such time due to the nature of some of their rituals, probably clashed directly with the increase of the Brahmin caste, and some textual references allowed early the social situation Vrātya extremely high – in the Vedic texts later in the afternoon period, the Vrātya is regarded to be almost totally impure and not much better considered that the average outcast. The Berserker seems to have been spared this degradation with respect to their social position. As a direct comparison between the two, the most important factor, apart from the obvious relationship with the wolf, is the liminal nature of his role. As above stated, that predated the separation of primary Vedic castes and therefore in a position that is neither priest nor a warrior. Also, the Berserker has two souls, a wolf and a human – nature again is liminal, because you can not say that is neither fully man nor beast entirely. Although you can not at this time point, at this point whether the Vrātya also used a way to change how the battle, which also recorded as wolves or dogs, and use the wilderness of the jungle to the execution ritual. Although this form of liminality not can be proven with certainty, the truth is that it also plays a dual role, both a pure impure. So you can also say that occupy a liminal role of ambiguity unpredictably dangerous.

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[1] White, DG General, Myths of the Dog-Man, University of Chicago Press, Chicago, 1999, 27

[2] Eliade, M., key Scriptures about the world, New York, Harper, 1992, 294

[Iii] Ellis Davidson, human resources, myths and symbols in pagan Europe: early Scandinavian and Celtic Religions , Syracuse: Syracuse University Press, 1988, 79

[Iv] Ibid, 79

[V] Ibid, 79

[Vi] Ibid. 79

[Vii] White DG, Myths of the Dog-Man, University of Chicago Press, Chicago, 1991 61

[Viii] Ibid. 61

[Ix] Eliade, M., Essential Scripture From Around the World, New York, Harper, 1992, 294.

[X] Ellis Davidson, human resources, myths and symbols in Pagan Europe: Early Scandinavian and Celtic Religions, Syracuse University Press, Syracuse, 1988, 80

[Xi] Dumézil, G., The fate of the warrior University of Chicago Press, Chicago, 1970, 141

[Xii] Ellis Davidson, HR, gods and myths of Northern Europe, Penguin Books, Middlesex, 1964. 67

[Xiii] Dumézil, G., The fate of the warrior, University of Chicago Press, Chicago, 1970, 141

[Xiv] Ibid, 141-142

[Xv] Gerstein, MR, The Germanic Warg: Outlaw as a werewolf, The myth of the ancient Indo-European-Larson, GJ, ed. The University of California Press, California, 1974.

143

[Xvi] Dumézil, G., The Destiny of the Warrior of the University of Chicago Press, Chicago, 1970, 142

[Xvii] Ibid, 143

[Xviii] Gerstein, MR, The Germanic Warg: The Outlaw as a werewolf, Mito in ancient Indo-European, Larson, GJ, ed., University of California Press, California, 1974 156

[Xix] Eliade, M, Trask, WR, trans Yoga: Immortality and Freedom, New Jersey, Princeton University Press, 1990, 103

[Xx] Ibid. 105

[Xxi] White, DG, Myths of the Dog-Man, University of Chicago Press, Chicago, 1991 96

[Xxii] Ibid. 96

[Xxiii] Ibid. 100

[Xxiv] ibid 96

[Xxv] 98 Ibid

[Xxvi] Ibid. 101

[Xxvii] Ibid. 101

[Xxviii] Turner, VW, The Ritual Process, Aldine Publishing Company, Chicago, 1995, 95

[Xxix] Dumézil, G., The Destiny of the Warrior of the University of Chicago Press, Chicago, 1970, 142

[Xxx] Eliade, M., essential scripture of the world, New York, Harper, 1992, 296

[Xxxi] Byock, LJ, Trans., The Saga of Volsungs, Penguin Books, London, 1990, 44

[Xxxii] Ellis Davidson, HR, gods and myths of Northern Europe, Penguin Books, Middlesex, 1964, 66

[Xxxiii] Byock, LJ, Trans., The Saga of Volsungs, Penguin Books, London, 1990, 45

[Xxxiv] Ibid. 45

About the Author

Gwendolyn Toynton was the recipient of the Ashton Wylie Award for Literary Excellence in 2009 for her first book, Primordial Traditions, which featured a collection of articles from the periodical Primordial Traditions which ran from 2005-2010. Northern Traditions is her second book. She is also a published poet and has written for numerous magazines. Gwendolyn holds a BA (Hons) in Religious Studies and has a strong interest in all spiritual matters and philosophy.

Northern Traditions can be viewed here.

 

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