Skaði

Concise scholarly summary of the figure, name, tradition, and significance.

Skaði (skadi) ​— Winter, ‌Mountains, Hunting · ‌Shadow, harm (from ​skadwō) — ​belongs to the ​Norse tradition, ​where it is ​catalogued under the ‌domain "Winter, ​Mountains, Hunting". The ​name means ‌"Shadow, harm (from ​skadwō)"^[1].

Skaði is ‌the giantess ​who walked into ‌Ásgarðr armed ​and walked out ​with a settlement. ​Daughter of ​the giant Þjazi ​of Þrymheimr, ‌she came in ​helmet and byrnie ‌to claim ​compensation for her ‌father's death, ​and the gods ‌met her terms: ​a husband ‌chosen by his ​feet alone, ​a laugh no ‌one thought she ‌had in ‌her, and her ​father's eyes ​set in the ‌sky as stars.

​Her dominion ​is the high ‌country. Grímnismál ​remembers her dwelling ​in her father's ‌ancient home, ​and Snorri calls ‌her ǫndurgoð and ​ǫndurdís — ​the ski-deity who ​travels the ​drifts on her ‌ǫndurr and shoots ‌game with ​the bow. The ‌sea she ​married into never ​held her; the ‌mountains took ‌her back.^[2]

PuniCodex ‌restores the ‌name as Skaði ​and serves its ‌temple at ​skaði.com. The restoration ​preserves at ​least one distinctive ‌feature — a ​diacritic or ​a distinctive letter ​— that ‌the ASCII form ​loses, and exactly ​one historically ​valid Unicode restoration ‌exists, which ​places the name ‌in Tier 1. ​The plain ‌ASCII form skadi ​survives as ‌a modern convenience ‌imposed by the ​early domain-name ​system; the restoration, ​not the ​fallback, is the ‌form the project ‌defends as ​philologically complete^[3].

Etymology, ASCII constraint, Unicode restoration, name variations, tier classification.

The ​name is ‌attested in ‌Younger Futhark ​as ​ᛋᚴᛅᚦᛁ. Etymologically ​it means ​"Shadow, harm ​(from *skadwō)"^[1].

‌The ​reconstructed proto-form ​is skadwō ‌(proto-indo-european, "Shadow, ​harm"). ‌Shadow, harm ​(from *skadwō)

‌The ASCII ​form skadi ​survives ​only because ​the early ​domain-name system ‌could ​not carry ‌diacritics; it ​is a ‌technological ​compromise, not ‌an ancient ​spelling. The ‌Unicode restoration ​Skaði ​recovers the ‌full diacritic ‌detail of ‌the ​scholarly transliteration ​directly in ‌the address ​bar. The ​restoration ‌preserves at ​least one ​distinctive feature ‌— ​a diacritic ‌or a ​distinctive letter ​— ​that the ​ASCII form ‌loses, and ‌exactly one ​historically ‌valid Unicode ​restoration exists, ​which places ‌the ‌name in ‌Tier 1.

‌The letter-by-letter ​transformation runs:

‌- ​s → ​S — ​Same

• ‌k ​→ k ​— Same

​- a ‌→ ​a — ​Same

• ​d → ‌ð — ​Eth: ‌voiced dental ​fricative
• ‌i → ​i ‌— Same

‌The project ​holds the ​domain skaði.com ​(xn--skai-dqa.com) ​as the ‌canonical home ‌of this ​name^[2].

IPA reconstruction, phoneme breakdown, approximation, kin forms.

The reconstructed ​pronunciation of the ‌name is /ˈskɑː.ði/ ‌— Old Norse ​Reconstruction.^[1]

Phoneme by ​phoneme:

• Sk- ​— Unpalatalized cluster ​[sk]; Old Norse ​keeps the hard ‌[k] before the ​back vowel, untouched ​by the later ‌Scandinavian palatalizations
• ​-á- — Long ‌low back [ɑː]; ​the acute marks ‌vowel length on ​the stressed first ​syllable
• -ð- ​— Voiced dental ​fricative [ð], the ​eth; the soft ‌'th' of ​'father', never the ‌hard 'th' of ​'thin'
• -i ‌— Short close ​front [i], the ‌light nominative ending ​of the name

‌For the modern ​speaker, the closest ​approximation is: 'SKAH-thee' ‌— stress the ‌long open first ‌syllable like 'spa' ​held long, then ​a soft 'th' ‌as in 'father' ​and a short ​'ee'.

Kindred and ‌historical forms of ​the name:

• ​Modern Icelandic — ‌Skaði, the living ​reflex, unchanged in ‌spelling from the ​Old Norse
• ​Anglicized — Skadi, ​the standard ASCII ​rendering in modern ‌handbooks
• Older ‌translations — Skathi ​(Bellows's Poetic Edda), ‌Skade (nineteenth-century renderings ​of Snorri)
• ​Conjectural cognates — ‌Gothic skadus, Old ‌English sceadu, 'shadow' ‌— a debated ‌etymology, not a ​settled one

Skaði ‌is Tier 1: ​the acute on ​á marks the ​long vowel [ɑː], ‌and ð ​is a distinctive ​letter — features ​the ASCII form ‌Skadi loses. The ​name is grammatically ​masculine in Old ​Norse though it ‌belongs to a ​goddess, a fossil ‌noted by the ​lexicographers, and is ‌attested throughout the ​Eddic corpus (Grímnismál ‌11, Lokasenna, Gylfaginning, ‌Skáldskaparmál). Normalization follows ​Cleasby & Vigfusson, ​An Icelandic-English Dictionary ​(1874), s.v. Skaði; ​and Zoëga, A ‌Concise Dictionary of ‌Old Icelandic (1910), ​s.v. Skaði.

Original writing system, transliteration steps, uncertainty markers, font/display notes.

The name ​is preserved ‌in Younger ‌Futhark as ​ᛋᚴᛅᚦᛁ.^[1]

The ​scholarly transliteration ​is skaþi.

The ​rendering proceeds ​step by ‌step:

• ​ᛋ (sól) ​writes /s/

‌- ᚴ (kaun) ​writes both ‌/k/ and ​/g/ (and ‌the ng ​cluster)

• ​ᛅ (ár) writes ​/a/, /á/ ​and /æ/

​- The ‌spelling skaþi ​is a normalized ‌phonetic reconstruction; ​Younger Futhark ‌does not ​distinguish voiced/voiceless ‌stops or ​separate short and ‌long vowels

​Old Norse ​literature reached ‌us in ‌medieval Icelandic ‌manuscripts written in ​the Latin ​alphabet; the ‌earlier epigraphic ​medium was ​the Younger ‌Futhark. The theonym ​Skaði is ​known from ‌the manuscript ​tradition alone; ‌a hypothetical ​runic rendering would ​approximate ᛋᚴᛅᚦᛁ ​— the ​futhark marks ‌no vowel ‌length (ᛅ ​serves both a ‌and á) ​and writes ​the voiced ‌dental fricative ‌with the ‌thorn-rune ᚦ, which ‌covers both ​[θ] and ‌[ð]. The ​normalized Old ​Norse form ​Skaði therefore carries ‌two features ​the ASCII ​form loses: ​á, the ‌long low back ​vowel [ɑː] ​marked by ​the acute, ‌and ð ​(eth), the ‌soft dental fricative ​[ð]. The ‌PUNICODEX registrable ​form preserves ‌both characters ‌as a ​Tier-1 restoration of ​the name's ​Norse phonology, ​recovering what ‌neither runes ‌nor ASCII ​could write.

Sphere of influence, titles, epithets, domain cards.

Skaði is ​the giantess ‌who walked ‌into Ásgarðr armed ​and walked ​out with a ​settlement. Daughter ​of the ​giant Þjazi of ‌Þrymheimr, she ​came in ​helmet and byrnie ‌to claim ​compensation for her ‌father's death, ​and the ‌gods met her ​terms: a ​husband chosen ​by his feet ​alone, a ​laugh no one ‌thought she ​had in ‌her, and her ​father's eyes ‌set in ​the sky as ‌stars.

Her ​dominion is the ‌high country. ​Grímnismál remembers ​her dwelling in ‌her father's ‌ancient home, ‌and Snorri calls ​her ǫndurgoð ​and ǫndurdís — ‌the ski-deity ​who travels ​the drifts on ‌her ǫndurr ​and shoots ​game with the ‌bow. The ​sea she married ‌into never ​held her; ​the mountains took ​her back.^[1]

​### Þrymheimr

‌Her father's storm-hall ‌in the ​high peaks; when ‌the sea ​failed her ​she went home ‌to its ‌wolves and ‌wind.

The ‌Bow and ​the Ski

Snorri ‌names her ​ǫndurgoð and ​ǫndurdís — the ​ski-deity who ‌fares over ​winter drifts and ​shoots her ​game.

The ‌Eyes of ​Þjazi

Óðinn ​cast the slain ​giant's eyes ‌into the ​sky as two ‌stars — ​part of the ‌weregild his ​daughter exacted.

‌### The Venom-Snake

‌Over the ​bound Loki ​she fastened a ​poison-snake; only ​Sigyn's basin stands ‌between the ‌drops and ​his face.

Iconography, attributes, and their meanings.

The ​iconography ‌associated ‌with Skaði ​concentrates ​in ​a ​small ​set ‌of recurring ​attributes, ​each ‌a ​compressed ‌statement ​about the ‌name:^[1]

​- ​Skis ​(ǫndurr) ​— ​The snow-shoes ‌that ​carry ‌her ​over ‌the winter ​peaks, ‌source ​of ‌her ​titles ​ǫndurgoð and ‌ǫndurdís
‌- ‌Bow ​— ​The ‌huntress's weapon; ​she ​fares ‌with ​bow ​and ‌ski and ​shoots ‌game ​in ​the ​mountains
​- Þrymheimr ‌— ‌The ​storm-home, ‌her ​father ​Þjazi's hall ‌and ‌her ‌own ‌final ​refuge
‌- Wolf ​— ​The ​mountain ‌cry ​she preferred, ​which ​Njǫrðr ‌found ​hateful ​beside ​the song ‌of ​swans
‌- ​Venom-dripping ‌serpent ​— The ‌instrument ‌of ​her ​vengeance, ​fastened ​above the ‌bound ‌Loki's ​face

Core myths, primary narratives, and textual evidence.

Skaði is the giantess ​of the high fells: daughter of Þjazi, ‌inheritor of Þrymheimr, the 'bright bride of ‌the gods' named in Grímnismál. She enters ​the mythic record already armed — coming ​to Ásgarðr not as a supplicant but ​as a claimant — and she leaves ​it as vengeance incarnate, fastening the venom-snake ​above the bound Loki. Between those entrances ‌and exits lies the Edda's strangest marriage: ​chosen by feet, wrecked by geography. Snorri ​remembers her above all on skis, bow ‌in hand, and names her ǫndurgoð and ​ǫndurdís, the ski-deity. Her myths ask what ‌compensation can repair, and what terrain a ​self will not surrender.^[1]

The Weregild ‌of Þjazi (Skáldskaparmál)

The giant Þjazi had ​abducted Iðunn and her apples of youth; ​when Loki stole her back, Þjazi pursued ​in eagle shape, and the Æsir kindled ​a fire that scorched his wings and ​brought him down inside their garth, where ‌they slew him. Skaði took her ​father's death as a cause of war: ‌she put on helmet and byrnie and ​came to Ásgarðr in full war-gear, and ‌the gods chose settlement over battle.

Her ​terms were three. She would choose a ‌husband from among the Æsir — but ​only by the feet, the gods hidden ‌behind a screen. They must make her ​laugh, which she thought no one could ​do; Loki tied one end of a ‌rope to a goat's beard and the ‌other to his own testicles, and as ‌each hauled and shrieked he tumbled at ​last onto her knee, and she laughed. ​And Óðinn took Þjazi's eyes and hurled ‌them into the heavens, where they shine ​as two stars — a father's face ​written into the night his daughter would ‌hunt beneath.^[2]

The Feet She Chose, ​the Sea She Left (Gylfaginning)

Behind the ​screen the gods stood bare to the ‌calves, and Skaði picked the fairest pair ​of feet, certain they could only belong ‌to Baldr. They belonged to Njǫrðr of ​Nóatún — the sea-god, rich and even-tempered, ​and entirely of the wrong element. They ​agreed to divide their marriage by terrain: ​nine nights in Þrymheimr, then nine at ‌Nóatún.

The verses Snorri preserves are the ‌marriage's epitaph. Njǫrðr: 'Hateful to me are ​the mountains; I was there not long, ‌nine nights only — the howling of ​wolves seemed evil to me beside the ​song of swans.' Skaði answered: 'I could ‌not sleep on the sea's bed for ‌the screaming of the bird; he wakes ‌me who comes from the wide wave ‌every morning — the gull.' Then she ​went up into the mountains and dwelt ‌in Þrymheimr, where she travels on skis ​with her bow and shoots game, and ​is called ǫndurgoð or ǫndurdís.

The ​Snake above Loki (Lokasenna)

At Ægir's feast, ‌as Loki's flyting turns vicious, Skaði ​is among those he cannot charm. She ​warns him that his tongue runs free ​only a little longer: on a sharp ‌rock, with the guts of his own ​frost-cold son, the gods will bind him. ​Loki answers with cruelty of his own ​— boasting that he was first and ‌foremost among those who dealt Þjazi his ​death-blow, and claiming that Skaði once invited ‌him to her bed.

The poem's prose ​epilogue gives her the last word without ‌words. When Loki lies bound, it is ​Skaði who takes a venomous snake and ‌fastens it above his face so that ‌the poison drips downward. His wife Sigyn ​kneels beside him holding a basin against ​the drops; only when she turns to ​empty it does the venom strike, and ​Loki writhes — in Snorri's telling, the ‌cause men call earthquakes. The giantess who ‌once demanded a laugh becomes the keeper ​of the dripping drop.

Cross-cultural identification, later adaptations, and interpretatio.

Skaði's clearest ​structural parallels ‌stand inside ‌the Norse ​corpus itself: ​Gerðr, the ​giant's daughter ​who marries Freyr ​— Skaði's ‌own stepson ​by Njǫrðr ​— so ‌that two ​giant-brides enter ‌the Vanir ​household a generation ‌apart; and ​Ullr, named ​in the ​same chapter ​of Gylfaginning ​as an ‌archer and snow-shoe ​runner, who ‌functions almost ​as her ‌male doublet, ​his cult ‌the better ​attested of the ‌two in ​Scandinavian place-names. ​Etymologists have ‌connected her ‌name with ‌Gothic skadus ​and Old ​English sceadu, 'shadow', ‌and the ​first element ​of Scandinavia ‌(Pliny's Scadinavia) ​has been ​derived from ‌a related root ​— both ‌proposals remain ​conjectural and ​debated. Beyond ​the Germanic ​world she ‌invites comparison rather ‌than borrowing: ​Artemis, the ‌mountain huntress ​with the ​bow, is ‌the obvious ‌Greek functional ‌echo. In later ‌Scandinavian folklore ​she fades ‌from cult ​but not ​from landscape ​— the ‌wild huntress and ​the mountain-woman ​of the ​high fells ‌keep her ​outline, and ​the nineteenth-century ​Norwegian ski revival ‌made her ​silhouette a ‌national one.^[1]

​Kindred figures ‌in the ​PuniCodex cross-tradition ‌index include ‌Ártemis (hunt / ​wilderness), ꜥAnat ​(hunt / ​wild), Ọṣọọsì ​(hunt / ‌wild), and ‌Pān (hunt ​/ wild).

Modern influence, literature, art, popular culture, and contemporary practice.

Skaði ​never reached ‌Wagner's ‌stage — ​the ​Ring is ​built ​from Vǫlsunga ​and ‌Nibelung material, ​and ​the giantess ‌of Þrymheimr ​has ‌no part ​in ‌it — ​but ​modernity found ​her ​anyway. The ​sport ‌she was ​said ‌to practice ​made ‌her an ​emblem ‌of Norwegian ​winter: ‌she is ​the ​'ski-goddess' of ‌modern handbooks, ‌invoked ‌wherever Scandinavian ​skiing ​celebrates its ‌mythic ​roots. In ​comics, ‌Marvel's Fear ​Itself ​(2011) borrowed ‌her ​name for ‌the ​hammer-wielding herald ​of ​the Serpent; ​in ‌games, Smite ‌(2016) ​fields her ‌as ​a playable ​huntress with ‌the ‌winter-wolf Kaldr ‌at ‌her side. ​Astronomers ‌gave her ​name ​to Skathi, ​a ‌moon of ​Saturn. ​In contemporary ​heathenry ‌she is ​honored ​as a ​goddess ‌of winter, ​self-reliance, ‌and the ​hunt — ‌the ​deity who ‌sets ‌her terms, ​keeps ​them, and ​goes ​home when ‌the ‌ground is ​wrong.^[1]

Sites, inscriptions, artifacts, and physical attestations.

No ​material image ‌can ‌be securely ​identified ​as Skaði: ​no ​runestone names ​her, ‌and no ​picture-stone ​figure ‌is demonstrably ​the ‌giantess of ​Þrymheimr. ‌Her attestation ​is ​textual — ​the ​Codex Regius ​of ‌the Poetic ​Edda ‌(GKS 2365 ​4to, ‌c. 1270) ​preserves ‌Grímnismál and ​Lokasenna, ‌and the ​Prose ​Edda manuscripts ‌(Codex ‌Regius ‌GKS 2367 ​4to; ​Codex Wormianus ‌AM ​242 fol.; ​Codex ‌Upsaliensis DG ​11) ​carry Snorri's ‌account. ​The material ‌world ​her titles ​presuppose ​is real ​enough: ‌prehistoric skis ‌such ​as the ‌Kalvträsk ​and ​Hoting finds ‌from ‌Sweden (c. ‌3200 ‌BC) and ​the ‌rock carving ​of ​a striding ​skier ‌at Rødøy ​in ​Nordland, Norway ​(roughly ‌four thousand ​years ​old), document ​the ‌snow-travel culture ​behind ‌the name ​ǫndurgoð. ‌Place-names ​preserve the ‌related ‌ski-god Ullr ​abundantly; ​place-name evidence ​for ​Skaði herself ‌is ‌sparse and ​disputed.^[1]

Cited primary and secondary sources with full bibliographic metadata.

The ​account of ‌Skaði given ‌in this ​edition rests ​on ​the witnesses ​and reference ​works listed ‌below. Lexica ​and ​etymological dictionaries ‌secure the ​form and ‌meaning of ​the name; ‌the ​literary and ​religious texts ​supply the ​narrative evidence.

​- ‌^[1] Poetic ​Edda: Grímnismál ‌(Bellows translation) ​— Skaði ‌dwelling ​in Þrymheimr, ‌'bright bride ​of the ‌gods'. Full ​text
​- ^[2] ‌Poetic Edda: ‌Lokasenna (Bellows ‌translation) — ​her ​exchange with ‌Loki and ​the prose ​account of ‌the ​venom-snake. Full ​text

• ‌^[3] Snorri ​Sturluson, Prose ‌Edda: Gylfaginning ​(Brodeur ​translation) — ​the marriage ​to Njǫrðr, ‌the nine-night ‌verses, ​the ski-deity ‌titles. Full ​text
• ​^[4] Snorri ‌Sturluson, ‌Prose Edda: ‌Skáldskaparmál (Brodeur ‌translation) — ​the death ‌of ​Þjazi and ​Skaði's weregild. ​Full text

‌- ^[5] ​The ​Younger Edda ​(Prose Edda), ‌tr. Rasmus ​B. Anderson ​(Project ​Gutenberg). Full ‌text

• ​^[6] Gylfaginning ‌(Old Norse ​text, Heimskringla.no). ‌Full ​text
• ‌^[7] Skáldskaparmál ‌(Old Norse ​text, Heimskringla.no). ​Full ​text
• ​^[8] Skaði ‌(encyclopedia entry, ‌Wikipedia). Full ​text

Grímnismál ​names ‌Skaði ‌'the ​bright ​bride ​of ​the ​gods', ‌dwelling ​in ​Þrymheimr, ‌where ​Þjazi ‌dwelt, ​the ‌all-powerful ​giant ​— ​her ​inheritance ​already ‌a ​wound ‌between ​god ‌and ​giant.^[1] ‌Lokasenna ​gives ‌her ​the ​feast's ‌coldest ‌exchange: ‌she ​warns ​Loki ‌that ​the ​gods ‌will ​bind ​him ‌on the ​rocks ‌with ​his ​son's ​innards, ​and ‌he ‌answers ​with ‌his ​boasts.^[2] ​The ‌poem's ‌prose ‌epilogue ‌hands ​her ‌the ​instrument ​of ​vengeance ‌itself: ​when ​Loki ​is ‌bound, ​Skaði ​takes ​a ‌venomous ​serpent ‌and ​fastens ‌it ​above ‌him ‌— ​the ​dripping ​venom ​that ‌shakes ‌the ​earth.^[3]

Snorri's ​Skáldskaparmál ‌tells ‌her ​​weregild: ​Skaði ​comes ​armed ‌to ​Ásgarðr ​for ‌her ​‌father's ​death, ‌chooses ​a ​husband ​by ​his ​feet ‌​and ‌wins ​Njǫrðr ‌instead ​of ‌Baldr, ​and ‌laughs ​​only ‌when ‌Loki ‌ties ​his ​beard ‌to ​a ​‌goat.^[1] ​Gylfaginning ​ends ‌the ​marriage ‌in ​antiphonal ​​verses ​— ‌nine ‌nights ​in ‌the ​mountains, ​nine ‌‌by ‌the ‌sea, ​each ‌hating ​the ​other's ​home ‌​— ​and ​names ‌her ​ǫndurgoð ​and ​ǫndurdís, ‌the ​‌ski-deity, ​who ‌travels ​on ‌skis, ‌bow ​in ​hand, ​​and ‌shoots ‌wild ​beasts.^[2]

No ​runestone ‌names ‌Skaði, ​and ​no ​picture-stone ​figure ​is ‌demonstrably ​the ​giantess ‌of ​Þrymheimr; ‌her ​material ‌attestation ​is ​the ​culture ​her ​titles ‌​presuppose. ‌Prehistoric ​skis ‌such ​as ‌the ​Kalvträsk ‌and ​Hoting ​finds ‌from ‌Sweden ‌and ​the ​four-thousand-year-old ‌skier ​carved ​at ‌Rødøy ​in ​Nordland ‌document ​the ‌snow-travel ​world ​behind ​the ​name ‌ǫndurgoð.^[1] ‌Place-names ​preserve ‌her ​fellow ​ski-god ‌Ullr ‌abundantly, ‌while ‌evidence ​for ‌Skaði ​herself ​is ​sparse ‌​and ​disputed ​— ‌some ​have ​heard ​her ‌name ​in ‌Scadinavia, ​the ‌ancient ​name ‌of ‌the ​southern ​peninsula.^[2] ​The ​stones ‌keep ‌their ​silence.

Skaði's ​saga ‌life ‌is ​​genealogical. ​Snorri's ​Ynglinga ​saga ‌remembers ​her ​‌after ​the ‌broken ​marriage: ‌parted ​from ​​Njǫrðr, ​she ​afterwards ‌had ​sons ‌by ​Óðinn, ‌​and ‌from ​her ‌son ​Sæmingr ​descend ‌‌the ‌jarls ​of ​Hlaðir ‌— ​the ​‌ski-giantess ​grafted ​into ‌the ​trunk ‌of ​Norwegian ​​lordship.^[1] ​Eyvindr ‌skáldaspillir's ‌Háleygjatal, ​the ‌genealogy-poem ​​of ‌those ‌jarls, ‌names ‌Sæmingr ​among ‌​the ​ancestors.^[2] ​Beyond ‌these ​dynastic ​notices ​she ‌​keeps ​to ​the ‌Eddas, ​a ‌figure ​‌of ​the ‌high ‌fells ​the ​lowland ​​sagas ‌never ‌quite ​domesticated.

Contemplative or interpretive essay on the figure's enduring meaning.

Every ​other figure ‌in her ‌story negotiates; ​Skaði stipulates. ​Wronged, ​she does ​not raid ​and she ‌does not ​weep ​— she ‌arms herself, ​walks to ‌the enemy's ​gates, and ‌dictates ​compensation. The ​settlement is ​exact: a ​husband, a ​laugh, ‌two stars. ​Even her ‌mistake has ​integrity. Choosing ‌a ​god by ‌his feet ​is absurd, ‌and she ​abides ​by the ‌result without ‌complaint.

The ‌marriage to ​Njǫrðr ​is the ‌Edda's most ​honest parable ​of incompatibility. ‌Neither ​party is ​wrong: the ‌gull genuinely ​wakes her, ‌the wolf ​genuinely ​unnerves him, ​and nine ​nights each ‌way is ‌the ​full extent ‌of what ​compromise can ​do when ‌identity ‌is terrain. ‌Skaði does ‌not diminish ​herself to ‌keep ​the peace; ​she goes ​home to ‌Þrymheimr and ​straps ​on her ​skis. And ‌it is ​she — ​not ​Þórr, not ‌Óðinn — ​who hangs ‌the snake ​over Loki. ‌The ​Edda gives ‌its last ‌act of ​private justice ​to ​the daughter ​who never ‌forgot what ‌she was ​owed.^[1]

Universities and students credited for contributions.