A Compendium of the Ancient Gods
Odin, plate

Odin (Old Norse Óðinn, Anglo-Saxon Wōden, whence Wednesday) was the chief of the Aesir, the Allfather of gods and men, the god of war, wisdom, poetry, magic, the runes, and the dead. He was a son of the proto-giant Borr and the giantess Bestla, brother of Vili and Vé (with whom he had killed the primal giant Ymir, from whose body the world was made: his flesh became the earth, his blood the sea, his bones the mountains, his skull the sky, his brain the clouds). He had one eye — having given the other in pledge for a drink from Mimir's well of wisdom — and his appearance was that of an old man, gray-bearded, in a wide-brimmed hat and a gray cloak, often disguised when he walked among men. He rode the eight-legged horse Sleipnir; he was attended by the two ravens Hugin (Thought) and Munin (Memory), who flew over the world by day and returned at evening to whisper in his ears all that they had seen; and by the two wolves Geri and Freki, who devoured the meat at his table while he himself drank only wine.

Odin's appetite for wisdom was insatiable. He had drunk from Mimir's well at the cost of his eye; he had hung upon Yggdrasil for nine nights and nine days, pierced by his own spear and offered as sacrifice to himself, that he might win the knowledge of the runes — the magical and prophetic alphabet by which the cosmos could be inscribed and influenced; he had stolen the mead of poetry from the giant Suttung, escaping in eagle-form, and from this mead the gift of poetry came to gods and to gifted mortals. He maintained, in his hall Valhalla in Asgard, an army of the dead — the Einherjar, the slain heroes brought to him from earthly battlefields by the Valkyries (treated below) — who feasted each evening and fought each day in preparation for Ragnarök. At Ragnarök, Odin would meet the wolf Fenrir in single combat and would be devoured.

His character was complex and not always benign. He was the god of poets and of kings, and granted his favors to those he chose; but he was also the god of treachery, of betrayal in battle, of the breaking of oaths when his interest required, of the favoring of one warrior over another for inscrutable reasons. The Eddic poems repeatedly warn against trusting Odin; he is the god of those who win, but also of those whom he chooses to abandon to their enemies for his own larger purposes. He was the master of seid, a kind of magic considered ergi (effeminate, unmanly), which he had learned from the Vanir goddess Freyja in the early days of the gods; the contradiction between Odin's masculine warrior-aspect and his magical-feminine aspect was deliberate and not resolved by the tradition. He had many names — over two hundred are recorded — reflecting his multiple aspects and the many guises in which he wandered among mortals.

Curator’s note

What the sources say, and what later tradition added. The sources for this bay

The principal sources are throughout the Poetic Edda (especially Hávamál, Vafþrúðnismál, Grímnismál, Lokasenna, Völuspá) and Snorri's Prose Edda. The hanging-on-the-tree narrative is in Hávamál 138–141. The well-of-Mimir episode is alluded to in Völuspá and elaborated by Snorri (Gylfaginning 15). The mead-of-poetry narrative is in Skáldskaparmál 5–6. Odin's connection with the Continental Germanic Wōden and the etymological relationship to wōd (frenzy, inspiration) is securely established. The Anglo-Saxon Bede records that Wōden was held to be the ancestor of the royal lines; the cult was suppressed at the conversion. The figure has had an enormous modern reception, particularly through Wagner's Ring (where Odin is Wotan), through Tolkien (whose Gandalf draws openly on the wandering Odin), and through countless modern adaptations.

Kin in the sources

Each tie is quoted from the entry that states it.

When the sources speak

Dated witnesses for The Norse and Germanic Gods. A date marks when the evidence was written down, not when the belief began. The whole timeline

2nd–1st millennia BCE
Indo-European language dispersals and regional Bronze Age cultures provide a remote comparative background, not a recoverable common canon.
c. 500 BCE–1 CE
Iron Age material culture, names, sanctuaries, and classical ethnography offer early but external evidence for Celtic and Germanic religions.
1st–4th centuries CE
Roman inscriptions and provincial cults preserve many Celtic, Germanic, and local divine names.
4th–8th centuries CE
Migration-period and early medieval conversion transform ritual institutions while heroic traditions continue.
8th–11th centuries CE
Viking Age poetry, runic evidence, archaeology, and Scandinavian conversion form the core context of Norse myth.
9th–12th centuries CE
Slavic, Baltic, and Finnic traditions enter chronicles and missionary accounts, often through hostile observers.
11th–14th centuries CE
Irish, Welsh, and Icelandic manuscripts preserve major narrative corpora in Christian literary environments.
12th–16th centuries CE
Saxo, saga compilers, Baltic chroniclers, and later antiquarians systematize or reinterpret older material.

Floor plan

The rooms follow one another in the order their peoples first appear in the written record.

  1. The Cradle of Citiesc. 3400 BCE to 395 CE. 115 works
  2. The Gift of the Nilec. 4000 BCE to 395 CE. 73 works
  3. The Olympian Orderc. 1600 BCE to 750 CE. 152 works
  4. The Persian Worldc. 2000 BCE to 1010 CE. 30 works
  5. The Levantine Borderlandsc. 1200 BCE to 500 CE. 20 works
  6. The Edges of Empirec. 2000 BCE to 1500 CE. 33 works
  7. The Etruscan Worldc. 900 BCE to 750 CE. 22 works
  8. The Roman Inheritancec. 1200 BCE to 500 CE. 58 works
  9. The Northern Inheritancec. 2000 BCE to 1600 CE. 131 works