Bragi
Bragi is a figure in Norse mythology, and the god of poetry according to Snorri. The Prose Edda, Lokasenna and Grettis saga all portray him as the husband of the goddess Iðunn.
In skaldic poetry, Bragi appears as a resident of Valhalla who welcomes fallen kings. In Snorri's Prose Edda, Bragi is presented as a god of poetry, renowned for eloquence among the gods. In the Poetic Edda, Bragi is only sparsely attested: he is named as "the most pre-eminent of poets" in Grímnismál; appears among the gods at Ægir's feast in Lokasenna, where he exchanges insults with Loki and is defended by his wife Iðunn; and is mentioned in connection with runes in Sigrdrífumál.
Modern scholarship generally understands Bragi as a figure that emerged through the posthumous mythologization of the 9th-century skald Bragi Boddason, traditionally reckoned as the first skald, rather than from an originally independent pre-Christian cult.
Etymology
The origin of the theonym Bragi is obscure. It is generally connected with the Old Norse masculine noun bragr, which has two different meanings: 'poetry' and 'the first, noblest'. It remains uncertain which of these senses underlies the divine name. A further comparison with Old English brego has also been proposed, but this remains uncertain. The Old Norse compound braga-full, the ceremonial cup used for oath-taking, is generally derived from bragr in the sense 'the foremost, the noblest', rather than from its poetic meaning. Accordingly, it has been interpreted as meaning 'cup of the lord' or 'cup of Bragi'.Snorri Sturluson derived bragr from the divine name; however, Rudolf Simek regards this association as secondary and suggests that it may have contributed to the later identification of Bragi as a god of poetry. The fact that Bragi is well attested as a personal name in Old Norse and Old Swedish sources has led Jan de Vries to suggest that the divine name itself may be secondary in origin.
At the same time, the noun bragr in the sense of 'poetry' has been etymologically derived from Proto-Indo-European *bʰróg̑ʰ-o, itself from the root *bʰreg̑ʰ-. From this perspective, de Vries allows that the divine name Bragi could perhaps reflect an older cultic concept associated with ritual song or incantation, in which case it would have to be distinguished from the personal name. Most scholars, however, argue that the god Bragi derives from the 9th-century skald Bragi Boddason, elevated after death to divine status, reflecting a process of gradual mythologization rather than the survival of an originally independent pre-Christian deity.
Attestations
In Snorri Sturluson's Skáldskaparmál, Bragi is included asPoetic Edda
''Grímnismál''
In Grímnismál, Bragi is named "the most pre-eminent of poets" within a list of superlatives that also includes Odin as the foremost of the Æsir and Sleipnir as the best of horses.It is unclear if the passage refers to the god Bragi or to the historical skald Bragi Boddason.
''Lokasenna''
In Lokasenna, Bragi is among the first to exchange words with Loki after Loki gains entry to the Æsir by invoking his blood-brotherhood with Odin and is served a drink by Víðarr. It further emerges that Iðunn is his wife and that Bragi is said to have killed her brother. As the exchange escalates, Bragi is repeatedly taunted by Loki for his cowardliness and lack of martial prowess, and the confrontation is ultimately curtailed when Iðunn intervenes, urging him to restrain himself and to remember Loki's kinship with the gods.Given Bragi's role in skaldic poetry as a figure who welcomes dead kings to Valhalla, it is noteworthy that he is the first of the feasting gods to address Loki upon his entry into Ægir's hall and is singled out for particular invective in Loki's opening speech to the assembled gods.
''Sigrdrífumál''
A passage in Sigrdrífumál describes runes being carved on a wide range of objects: on the sun itself, on the ear of one of the sun-horses and the hoof of the other, on Sleipnir's teeth, on a bear's paw, an eagle's beak, a wolf's claw, and several other things, including Bragi's tongue. The runes are then shaved off, mixed with mead, and distributed so that the Æsir, elves, Vanir, and humans each receive a share. These are identified as speech runes, birth runes, ale runes, and magic runes. The precise meaning of this episode remains unclear.Prose Edda
''Gylfaginning''
In Gylfaginning, Snorri Sturluson names the god Bragi as the figure among the Æsir whose special concern was poetry:''Skáldskaparmál''
The first part of Snorri's Skáldskaparmál is a dialogue between Ægir and Bragi about the nature of poetry, particularly skaldic poetry. Bragi tells the origin of the mead of poetry from the blood of Kvasir and how Odin obtained this mead. He then goes on to discuss various poetic metaphors known as kennings.Later in Skáldskaparmál Snorri writes:
Skaldic poetry
In Eiríksmál, Odin, seated in Valhalla, hears the approach of the slain Norwegian king Eiríkr Bloodaxe and his retinue and commands the heroes Sigmundr and Sinfjötli to rise and greet him. Bragi then speaks, asking how Odin knows that the newcomer is Eiríkr and why he has allowed such a king to fall.In Hákonarmál, Hákon the Good is taken to Valhalla by the valkyrie Göndul and Odin sends Hermóðr and Bragi to greet him. In these poems Bragi could be either a god or a dead hero in Valhalla. Attempting to decide is further confused because Hermóðr also seems to be sometimes the name of a god and sometimes the name of a hero. That Bragi was also the first to speak to Loki in the Lokasenna as Loki attempted to enter the hall might be a parallel. It might have been useful and customary that a man of great eloquence and versed in poetry should greet those entering a hall. He is also depicted in tenth-century court poetry of helping to prepare Valhalla for new arrivals and welcoming the kings who have been slain in battle to the hall of Odin.
In Höfuðlausn, the skald Egill Skallagrímsson concludes with the words:
The attribution of this epode to Egill himself is generally disputed. The allusion is usually understood as referring to the myth of Odin's one-eyedness and his initiation to wisdom at Mímir, and Bragi may be seen here as an alternative name of Odin.
Interpretations
Deified human skald
Because Bragi appears in the skaldic poems Hákonarmál and Eiríksmál as a resident of Valhalla who receives deceased human kings, most scholars interpret this role as reflecting a poetic representation of the 9th-century skald Bragi Boddason, who is traditionally regarded as the first skald. The latter may have been imagined as a highly venerated human poet who, after death, was elevated to Valhalla. On this view, the figure Bragi from in these poems can be interpreted as a heavenly prototype of the god Bragi later attested in the Prose and Poetic Edda, the sublimated model of the skaldic praise-poet, and the first stage in the rapid metamorphosis from poet to god.The god Bragi of the Eddas is therefore generally regarded in scholarship as a later construct developed through the elevation of the historical skald Bragi Boddason to divine status. His portfolio as a god was connected to skaldic poetry, in contrast to Odin, who presided over poetry in general. From this perspective, Bragi would not reflect an inherited pre-Christian cult, but rather a process of systematizing and reinterpreting Germanic mythology by medieval Icelandic scholars. In support of this view, Heinz Klingenberg observes that Bragi is securely attested as a god only in post-pagan sources, and that although Lokasenna addresses him as a god, its wording may allow the interpretation that Bragi was conceived as an adoptive son of Odin.
Such a development would necessarily predate the attestations in the Poetic Edda, although the relative chronology cannot be established with certainty. Margaret Clunies Ross and Klingenberg have suggested that Bragi Boddason's apotheosis occurred in the 10th century, prior to the introduction of Christianity. Eugen Mogk thought that it took place as early as the late 9th century, shortly after his death. Jan de Vries, however, considered a transformation into a divine figure during the final decades of paganism unlikely, a view shared by Sophus Bugge, who thought that the timing was too short.