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In Norse mythology, Lofn (Old Norse: [ˈlovn], possibly "comforter,"[1] "the comforter, the mild,"[2] or "loving"[3]) is a goddess. Lofn is attested in the Prose Edda, written in the 13th century by Snorri Sturluson and in kennings found in skaldic poetry. In the Prose Edda, Lofn is described as gentle in manner and as an arranger of marriages, even when they have been forbidden. Scholars have proposed theories about the implications of the goddess.

Attestations

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In chapter 35 of the Prose Edda book Gylfaginning, High provides brief descriptions of 16 ásynjur. High lists Lofn eighth and about her says that:

'She is so gentle and so good to invoke that she has permission from All-Father or Frigg to arrange unions between men and women, even if earlier offers have been received and unions have been banned. From her name comes the word lof, meaning permission as well as high praise.'[4]

In the Prose Edda book Skáldskaparmál, Lofn is included among a list of 27 ásynjur names.[5] Elsewhere in Skáldskaparmál, Lofn appears in a kenning for "woman" in a work by the skald Ormr Steinþórsson.[6] Otherwise Lofn appears frequently as a base word in skaldic kennings for "woman."[7]

Theories

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John Lindow says that scholars have generally followed Snorri's etymological connection with the root lof-, meaning "praise." Lindow says that, along with many other goddesses, some scholars theorize that Lofn may simply be another name for the goddess Frigg.[7] Rudolf Simek theorizes that Snorri used skaldic kennings to produce his Gylfaginning commentary about the goddess, while combining several etymologies with the Old Norse personal name Lofn.[8]

Notes

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References

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Lofn

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In Norse mythology, Lofn is an Ásynja, one of the goddesses associated with the Æsir, renowned for her role in granting permission for forbidden loves and marriages by interceding with Odin or Frigg to allow unions otherwise prohibited. Her name derives from the Old Norse word lofn, meaning "permission" or "the allowed," reflecting her function as a mediator who ensures that such relationships proceed with divine approval. Lofn is primarily attested in the Prose Edda, composed by Snorri Sturluson in the 13th century, where she is described in the Gylfaginning as the eighth Ásynja, gentle and benevolent, who receives prayers to reconcile lovers and whose name gives rise to terms for "leave" or being "loved." Beyond this, she appears frequently in skaldic poetry from the medieval period, where her name serves as an element in kennings—a metaphorical poetic device—for "woman," underscoring her symbolic connection to human affection and femininity, though no extensive myths or independent narratives survive about her. As a minor deity, Lofn embodies themes of compassion and resolution in romantic entanglements, distinguishing her from more prominent love goddesses like Freyja or Sjöfn.

Etymology and Name

Linguistic Origins

The name Lofn derives from the Old Norse lof (neuter), which carries meanings including "," "permission," or "allowance," combined with the feminine agentive suffix -n to form a proper name denoting a divine figure. In , the name is pronounced approximately as [ˈlovn], with the initial syllable featuring a short /o/ sound and the final /vn/ typical of the language's . This form evolved from the Proto-Germanic root *lubą, reconstructed as denoting "" or "permission," which itself stems from the Proto-Indo-European *lewbʰ- associated with concepts of desire, care, or . further connects lof and Lofn to cognates such as lufu ("" or "") and Gothic lubō (""), underscoring shared Indo-European roots in notions of allowance, , and emotional bonds across . Historical manuscripts of texts consistently render the name as Lofn, as seen in derivatives and copies related to the tradition of the , without significant orthographic variation beyond scribal conventions of the era.

Interpretations of the Name

The name Lofn, derived from Old Norse lof, has been interpreted in multiple ways that reflect its ties to themes of consent, gentleness, and emotional resolution in Norse mythology. Scholars commonly translate it as "the permitted one" or "the one who permits," emphasizing her role in sanctioning unions otherwise prohibited by divine or social decree, or as "comforter" and "the mild," suggesting a soothing intermediary in conflicts, particularly those involving love and reconciliation. Alternative renderings include "loving," which aligns with her function in fostering harmony amid forbidden affections, allowing lovers to unite despite taboos. A key scholarly debate centers on the primary connotation of lof: whether it denotes "praise" or "acclaim," as seen in skaldic kennings where Lofn serves as a base word for "" (implying idealized or lauded ), or "permission" and "leave," linked to legal and allowances in rites. John Lindow notes that while Snorri Sturluson's favors permission, the poetic usage suggests , potentially blending both to portray Lofn as a benevolent enabler of socially elevated bonds. Rudolf Simek similarly highlights this duality, arguing that the name encapsulates both approbation and , underscoring Lofn's gentle in relational disputes. In medieval Scandinavian society, where marriages were often contractual alliances governed by and property laws, the name Lofn evoked cultural ideals of compassionate intervention against rigid social taboos, such as unions across class, , or familial prohibitions, symbolizing a divine for emotional fulfillment. This interpretation resonates with broader Norse customs emphasizing to maintain communal stability, positioning Lofn as a figure of mild in otherwise contentious romantic spheres. The element Lofn- appears in some mythological names, such as the dwarf Lofnheiðr, denoting permission or praise, distinct from the goddess's mythological persona. This specificity reinforces Lofn's unique symbolic role within the Ásynjur, often linked briefly to as an aspect of her protective domain over marital harmony.

Mythological Role

Associations with Love and Marriage

Lofn functions as a mediator in romantic and marital affairs within , particularly by enabling unions that are otherwise prohibited by legal or customary restrictions. She is portrayed as obtaining divine sanction from the Allfather (Odin) or to allow such couplings between men and women, effectively granting permission where it was previously denied or forbidden. This role positions her as a benevolent intercessor who bridges societal prohibitions, ensuring that affection can flourish despite external barriers. Her attributes emphasize mildness and , as she is characterized as exceptionally gracious and kindly toward those who invoke her, responding with goodness to pleas for relational . Through these interventions, Lofn provides solace and for lovers entangled in relationships, safeguarding emotional bonds against condemnation or separation. This protective function underscores her as a in matters of the heart, where she alleviates the distress of denied desires by facilitating resolution. In the broader Norse cosmological framework, Lofn's activities contribute to maintaining equilibrium in human interpersonal dynamics, operating under the authoritative oversight of or to align individual affections with divine order. Her name itself derives from concepts of "permission" and "," reflecting how such sanctioned unions become sources of communal approval and endearment. Although no specific artifacts, icons, or symbols are attested to her, these textual epithets of gentleness and efficacy highlight her as an embodiment of permissive benevolence in the divine pantheon.

Relations to Other Deities

In , Lofn is depicted as operating under the authority of the chief gods and , who grant her permission to facilitate unions that were previously prohibited by other forces, positioning her as a benevolent intermediary within the divine . This subordination underscores her role as an authorized agent rather than an independent arbiter, reliant on the approval of Allfather or his consort to intervene in human affairs. Scholars have proposed that Lofn may represent an aspect or alternate name for herself, given the overlapping themes of and marital , though this remains interpretive rather than explicit in the sources. Lofn shares affinities with fellow Ásynjur such as , who stirs affection and resolves enmities between lovers, and , who provides healing and comfort, but distinguishes herself through her specific mandate to legitimize relationships that others deem forbidden. These connections highlight a collective emphasis among the lesser goddesses on emotional and relational support, yet Lofn's interventions uniquely emphasize sanctioning the unsanctioned. As one of the 27 Ásynjur enumerated in the mythological catalog, Lofn holds a peripheral status in the pantheon, lacking dedicated myths, temples, or evidence of independent cultic worship beyond her brief attestations.

Primary Sources

Prose Edda

In the Prose Edda, composed by Snorri Sturluson in 13th-century Iceland as a manual for skaldic poetry drawing from earlier oral and poetic traditions, Lofn appears primarily in the section Gylfaginning. There, in Chapter 35, High—one of the god-figures addressing the Swedish king Gylfi—describes Lofn as one of the ásynjur, the goddesses of the Æsir, specifically grouping her with Sjöfn and Vár as deities who concern themselves with love. The text states: "The eighth is Lofn: she is so gracious and kindly to those that call upon her, that she wins Allfather's or Frigg's permission for the coming together of mankind in marriage, of women and of men, though it were forbidden before, or seem flatly denied; from her name such permission is called 'leave,' and thus also she is much 'loved' of men." This portrayal emphasizes Lofn's gentle nature and her role in granting permission for unions otherwise prohibited, aligning with the etymological sense of her name as related to "permission" or "allowance." In , the second major section of the , Lofn receives briefer treatment without accompanying narrative. She is enumerated among a list of 27 ásynjur in the appended Nafnaþulur (name-lists), a catalog of poetic synonyms and for use in , appearing alongside figures such as , , and . Additionally, Lofn features in a kenning for "" employed by the Ormr Steinþórsson, as in the phrase "Lofn of the foam-fleck's flame-gold," where "foam-fleck" refers to the sea and "flame-gold" to wealth or gold, thus periphrasing a woman as the "Lofn of gold." This usage illustrates her integration into skaldic diction as a term evoking feminine beauty and . The Prose Edda survives in several 14th-century manuscripts, with variations affecting the inclusion of sections like the Nafnaþulur; for instance, the Codex Wormianus (AM 242 fol., c. 1350) preserves the fuller lists and grammatical treatises alongside the core text. Lofn's mentions are confined to these descriptive and lexical contexts, and she plays no role in the broader mythological narratives outlined in , such as the creation of the world or the events of , highlighting her status as a minor, specialized focused on interpersonal permissions rather than cosmic events.

Skaldic Poetry

Lofn appears in skaldic poetry primarily through her use as a base-word in kennings and as a denoting a woman or , rather than in contexts. These references underscore her as a mild, loving figure suitable for in praise poems and laudatory verse. A notable example occurs in the tenth-century poetry of Ormr Steinþórsson, where in his Poem about a Woman (Ormr Woman 3), the kenning "Lofn of the fire of the wave" refers to a , with "fire of the wave" denoting , thus forming a complex for a figure adorned with wealth. Similarly, other skalds employ constructions like "Lofn of the shield" or "hall-Lofn" to evoke a or noblewoman, integrating her name into the intricate system of skaldic metaphors for and status. As a , Lofn functions as an alternative poetic name for goddesses or , aligning with verse composition rules that favor evocative, allusive terms to maintain metrical variety and avoid repetition. These attestations trace to pre-Snorri origins in ninth- through eleventh-century Icelandic skaldic verse, where Lofn features incidentally in dróttkvætt stanzas of poems dedicated to or kings, without any associated mythological narratives. Unlike major deities such as , who inspire numerous dedicated compositions, Lofn lacks any standalone poems and appears only in passing references, highlighting her peripheral role in the skaldic corpus. Her listing among the ásynjur in Skáldskaparmál further confirms her established status in poetic tradition by the thirteenth century.

Scholarly Interpretations

Historical Theories

In the , scholars such as Sophus Bugge viewed Lofn as a of "permission," reflecting possible ties to social practices around unions, as part of broader euhemeristic approaches to . Bugge's analysis suggested that minor goddesses like Lofn arose from rationalized accounts of such concepts in pre-Christian traditions. Building on such textual criticism, Rudolf Simek argued in 1993 that likely fabricated or significantly expanded Lofn's persona by blending her etymological roots with scant pre-existing traditions, such as her appearance in skaldic kennings. Simek viewed Lofn's description in the —where she is said to reconcile prohibited loves—as an authorial invention to systematize the Ásynjur roster, drawing on the name's implication of "permission" without substantial independent attestation. Scholarly consensus holds that Lofn's depiction likely stems from Snorri's systematization rather than pre-Christian cult. John Lindow, in his 2000 scholarship, further linked the element "lof-" to concepts of praise and permission, positing Lofn as a derived primarily from skaldic kennings for "" rather than an authentic pre-Christian with cultic worship. Lindow emphasized that, unlike major deities, Lofn lacks archaeological or non-Snorrian literary evidence, suggesting her elevation to divine status was a poetic or rhetorical construct in medieval . Early 20th-century debates centered on Lofn's potential identification with , particularly through shared motifs of granting permissions for marriages, which paralleled themes in medieval Icelandic law codes regulating betrothals and familial consents. Some scholars argued for Lofn as a distinct entity tied to the concept of permission, while others saw her attributes as an extension of 's protective domain over unions, indicating possible conflation in oral traditions. These discussions, grounded in 's brief attestation, highlighted tensions between Lofn's etymological uniqueness and overlapping roles with established goddesses.

Modern Scholarship

In contemporary scholarship, Lofn has been interpreted as embodying aspects of Viking Age gender dynamics, particularly the negotiation of within restrictive social structures, where her role in facilitating forbidden unions highlights women's relational agency in a patriarchal context. This perspective underscores her as a symbol of emotional and communal power for women, aligning with broader examinations of influences on societal prosperity and cultural values. However, no archaeological artifacts, such as amulets or votive offerings, have been identified as linked to Lofn, reflecting her status as a minor deity with scant material evidence beyond textual references. Comparative mythological studies position Lofn within Indo-European traditions of deities associated with and permission, though her role is more specialized than broader or passion archetypes. Recent critiques of Snorri Sturluson's accounts question their reliability for reconstructing pre-Christian beliefs, suggesting his systematization of minor goddesses may impose a medieval lens on earlier oral traditions. Digital philology tools, including analyses of corpora from the Skaldic Project, have parsed kennings to affirm Lofn's frequent but superficial use as a base word for "" in skaldic verse, confirming her limited independent attestation outside Snorri's and indicating she was likely a poetic rather than a fully developed figure. Significant research gaps persist in Lofn's study, notably her complete absence from runic inscriptions and family sagas, which prioritize major deities and historical narratives over minor mythological handmaidens like her, often linked briefly to as an attendant. This scarcity opens avenues for expanded feminist interpretations, portraying Lofn as an enabler of female initiative in marital choices amid constrained gender roles, though such readings remain underdeveloped due to the paucity of primary sources.
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