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Odin is a widely revered god in Norse mythology and Germanic paganism. Most surviving information on Odin comes from Norse mythology, but he figures prominently in the recorded history of Northern Europe. This includes the Roman Empire's partial occupation of Germania, the Migration Period and the Viking Age. Consequently, Odin has hundreds of names and titles. Several of these stem from the reconstructed Proto-Germanic theonym Wōðanaz, meaning "lord of frenzy" or "leader of the possessed", which may relate to the god's strong association with poetry.

Name
Etymological origin The Old Norse theonym (runic on the Ribe skull fragment) is a cognate of other medieval Germanic names, including Old English '''', Old Saxon , Old Dutch , and Old High German (Old Bavarian ). They all derive from the reconstructed Proto-Germanic masculine theonym *Wōðanaz (or *Wōdunaz''). Translated as 'lord of frenzy', or as 'leader of the possessed', *Wōðanaz stems from the Proto-Germanic adjective *wōðaz ('possessed, inspired, delirious, raging') attached to the suffix *-naz ('master of'). Internal and comparative evidence all point to the ideas of a divine possession or inspiration, and an ecstatic divination. In his (1075–1080 AD), Adam of Bremen explicitly associates Wodan with the Latin term , which can be translated as 'rage', 'fury', 'madness', or 'frenzy' ( : "Odin, that is, "). Other Germanic cognates derived from *wōðaz include Gothic ('possessed'), Old Norse ('mad, frantic, furious'), Old English ('insane, frenzied') and Dutch ('frantic, wild, crazy'), along with the substantivized forms Old Norse ('mind, wit, sense; song, poetry'), Old English ('sound, noise; voice, song'), Old High German ('thrill, violent agitation') and Middle Dutch ('rage, frenzy'), from the same root as the original adjective. The Proto-Germanic terms *wōðīn ('madness, fury') and *wōðjanan ('to rage') can also be reconstructed. Early epigraphic attestations of the adjective include un-wōdz ('calm one', i.e. 'not-furious'; 200 CE) and wōdu-rīde ('furious rider'; 400 CE). Philologist Jan de Vries has argued that the Old Norse deities Óðinn and Óðr were probably originally connected (as in the doublet Ullr–Ullinn), with Óðr (*wōðaz) being the elder form and the ultimate source of the name (*wōða-naz). He further suggested that the god of rage Óðr–Óðinn stood in opposition to the god of glorious majesty Ullr–Ullinn in a similar manner to the Vedic contrast between Varuna and Mitra. The adjective *wōðaz ultimately stems from a Pre-Germanic form *uoh₂-tós, which is related to the Proto-Celtic terms *wātis, meaning 'seer, sooth-sayer' (cf. Gaulish wāteis, Old Irish 'prophet') and *wātus, meaning 'prophesy, poetic inspiration' (cf. Old Irish 'prophetic wisdom, maxims', Old Welsh 'prophetic verse, panegyric'). According to some scholars, the Latin term ('prophet, seer') is probably a Celtic loanword from the Gaulish language, making *uoh₂-tós ~ *ueh₂-tus ('god-inspired') a shared religious term common to Germanic and Celtic rather than an inherited word of earlier Proto-Indo-European (PIE) origin. In the case a borrowing scenario is excluded, a PIE etymon *(H)ueh₂-tis ('prophet, seer') can also be posited as the common ancestor of the attested Germanic, Celtic and Latin forms. Steve Martin has pointed out that the name Odinsberg (Ounesberry, Ounsberry, Othenburgh) in Cleveland Yorkshire, now corrupted to Roseberry (Topping), may derive from the time of the Anglian settlements, with nearby Newton under Roseberry and Great Ayton having Anglo Saxon suffixes. The very dramatic rocky peak was an obvious place for divine association, and may have replaced Bronze Age/Iron Age beliefs of divinity there, given that a hoard of bronze votive axes and other objects was buried by the summit. It could be a rare example, then, of Nordic-Germanic theology displacing earlier Celtic mythology in an imposing place of tribal prominence. In his opera cycle Der Ring des Nibelungen, Richard Wagner refers to the god as Wotan, a spelling of his own invention which combines the Old High German with the Low German Wodan. Origin of Wednesday The modern English weekday name Wednesday derives from Old English Wōdnesdæg, meaning 'day of Wōden'. Cognate terms are found in other Germanic languages, such as Middle Low German and Middle Dutch Wōdensdach (modern Dutch woensdag), Old Frisian Wērnisdei (≈ Wērendei) and Old Norse Óðinsdagr (cf. Danish, Norwegian, Swedish onsdag). All of these terms derive from Late Proto-Germanic *Wodanesdag ('Day of Wōðanaz'), a calque of Latin Mercurii dies ('Day of Mercury'; cf. modern Italian mercoledì, French mercredi, Spanish miércoles). ==Attestations==
Attestations
Roman era to Migration Period . The figure to the left was cast with both eyes, but afterwards the right eye was removed. The earliest records of the Germanic peoples were recorded by the Romans, and in these works Odin is frequently referred to—via a process known as (where characteristics perceived to be similar by Romans result in identification of a non-Roman god as a Roman deity)—as the Roman god Mercury. The first clear example of this occurs in the Roman historian Tacitus's late 1st-century work , where, writing about the religion of the (a confederation of Germanic peoples), he comments that "among the gods Mercury is the one they principally worship. They regard it as a religious duty to offer to him, on fixed days, human as well as other sacrificial victims. Hercules and Mars they appease by animal offerings of the permitted kind" and adds that a portion of the also venerate "Isis". In this instance, Tacitus refers to the god Odin as "Mercury", Thor as "Hercules", and as "Mars". The "Isis" of the Suebi has been debated and may represent "Freyja". Anthony Birley noted that Odin's apparent identification with Mercury has little to do with Mercury's classical role of being messenger of the gods, but appears to be due to Mercury's role of psychopomp. Also, Tacitus's "among the gods Mercury is the one they principally worship" is an exact quote from Julius Caesar's (1st century BCE) in which Caesar is referring to the Gauls and not the Germanic peoples. Regarding the Germanic peoples, Caesar states: "[T]hey consider the gods only the ones that they can see, the Sun, Fire and the Moon", which scholars reject as clearly mistaken, regardless of what may have led to the statement. Although the English kingdoms were nominally converted to Christianity by the end of the 7th century, Woden is frequently listed as a founding figure among the Old English royalty. Odin is also either directly or indirectly mentioned a few times in the surviving Old English poetic corpus, including the Nine Herbs Charm and likely also the Old English rune poem. Odin may also be referenced in the riddle Solomon and Saturn. In the Nine Herbs Charm, Woden is said to have slain a (serpent, Germanic dragon) by way of nine "glory twigs". Preserved from an 11th-century manuscript, the poem is, according to Bill Griffiths, "one of the most enigmatic of Old English texts". The section that mentions Woden is as follows: The emendation of to 'man' has been proposed. The next stanza comments on the creation of the herbs chervil and fennel while hanging in heaven by the 'wise lord' () and before sending them down among mankind. Regarding this, Griffith comments that "In a Christian context 'hanging in heaven' would refer to the crucifixion; but (remembering that Woden was mentioned a few lines previously) there is also a parallel, perhaps a better one, with Odin, as his crucifixion was associated with learning." The Old English rune poem recounts the Old English runic alphabet, the futhorc. The stanza for the rune reads as follows: The first word of this stanza, (Latin 'mouth') is a homophone for Old English , a particularly heathen word for 'god'. Due to this and the content of the stanzas, several scholars have posited that this poem is censored, having originally referred to Odin. Kathleen Herbert comments that " was cognate with in Norse, where it meant one of the , the chief family of gods. In Old English, it could be used as an element in first names: Osric, Oswald, Osmund, etc. but it was not used as a word to refer to the God of Christians. Woden was equated with Mercury, the god of eloquence (among other things). The tales about the Norse god Odin tell how he gave one of his eyes in return for wisdom; he also won the mead of poetic inspiration. Luckily for Christian rune-masters, the Latin word could be substituted without ruining the sense, to keep the outward form of the rune name without obviously referring to Woden." In the prose narrative of Solomon and Saturn, "Mercurius the Giant" () is referred to as an inventor of letters. This may also be a reference to Odin, who is in Norse mythology the founder of the runic alphabets, and the gloss a continuation of the practice of equating Odin with Mercury found as early as Tacitus. One of the Solomon and Saturn poems is additionally in the style of later Old Norse material featuring Odin, such as the Old Norse poem , featuring Odin and the engaging in a deadly game of wits. , 1905. The 7th-century , and Paul the Deacon's 8th-century derived from it, recount a founding myth of the Langobards (Lombards), a Germanic people who ruled a region of the Italian Peninsula. According to this legend, a "small people" known as the were ruled by a woman named Gambara who had two sons, Ybor and Aio. The Vandals, ruled by Ambri and Assi, came to the Winnili with their army and demanded that they pay them tribute or prepare for war. Ybor, Aio, and their mother Gambara rejected their demands for tribute. Ambri and Assi then asked the god Godan for victory over the Winnili, to which Godan responded (in the longer version in the ): "Whom I shall first see when at sunrise, to them will I give the victory." Meanwhile, Ybor and Aio called upon Frea, Godan's wife. Frea counselled them that "at sunrise the Winnil[i] should come, and that their women, with their hair let down around the face in the likeness of a beard should also come with their husbands". At sunrise, Frea turned Godan's bed around to face east and woke him. Godan saw the Winnili and their whiskered women and asked, "who are those Long-beards?" Frea responded to Godan, "As you have given them a name, give them also the victory". Godan did so, "so that they should defend themselves according to his counsel and obtain the victory". Thenceforth the Winnili were known as the Langobards ('long-beards'). Writing in the mid-7th century, Jonas of Bobbio wrote that earlier that century the Irish missionary Columbanus disrupted an offering of beer to Odin (vodano) "(whom others called Mercury)" in Swabia. A few centuries later, 9th-century document from what is now Mainz, Germany, known as the Old Saxon Baptismal Vow records the names of three Old Saxon gods, ('Woden'), , and ('Thor'), whom pagan converts were to renounce as demons. A 10th-century manuscript found in Merseburg, Germany, features a heathen invocation known as the Second Merseburg Incantation, which calls upon Odin and other gods and goddesses from the continental Germanic pantheon to assist in healing a horse: In Old English Pedigrees showing a man embracing two ravens Old English royal genealogies record Woden as an ancestor of the kings of Lindsey, Mercia, Deira and Bernicia (which eventually became Northumbria, Wessex, and East Anglia), accounting for in 7 of the 8 genealogies, and all but Essex, who instead traced their ancestry to Saxnot. Some of these genealogies expand on ancestry beyond Woden, giving his father as Frealaf beginning in the 8th century. who is said to be the son of a god other than Yahweh. This lines up with the Lindsey genealogy which says that Frealaf was the son of Friothulf, son of Finn, son of Godulf, son of Geat, Viking Age to post-Viking Age : from left to right, Frigg, Odin, and Thor In the 11th century, chronicler Adam of Bremen recorded in a scholion of his that a statue of Thor, whom Adam describes as "mightiest", sat enthroned in the Temple at Uppsala (located in Gamla Uppsala, Sweden) flanked by Wodan (Odin) and "Fricco". Regarding Odin, Adam defines him as "frenzy" () and says that he "rules war and gives people strength against the enemy" and that the people of the temple depict him as wearing armour, "as our people depict Mars". According to Adam, the people of Uppsala had appointed priests (gothi) to each of the gods, who were to offer up sacrifices (blót), and in times of war sacrifices were made to images of Odin. In the 12th century, centuries after Norway was "officially" Christianised, Odin was still being invoked by the population, as evidenced by a stick bearing a runic message found among the Bryggen inscriptions in Bergen, Norway. On the stick, both Thor and Odin are called upon for help; Thor is asked to "receive" the reader, and Odin to "own" them. Poetic Edda , by Robert Engels, 1919. Odin is mentioned or appears in most poems of the Poetic Edda, compiled in the 13th century from traditional source material reaching back to the pagan period. The poem features Odin in a dialogue with an undead völva, who gives him wisdom from ages past and foretells the onset of , the destruction and rebirth of the world. Among the information the recounts is the story of the first human beings (Ask and Embla), found and given life by a trio of gods; Odin, , and : In stanza 17 of the Poetic Edda poem , the reciting the poem states that , and Odin once found Ask and Embla on land. The says that the two were capable of very little, lacking in and says that they were given three gifts by the three gods: The meaning of these gifts has been a matter of scholarly disagreement and translations therefore vary. Later in the poem, the recounts the events of the War, the war between and the , two groups of gods. During this, the first war of the world, Odin flung his spear into the opposing forces of the . The tells Odin that she knows where he has hidden his eye; in the spring , and from it " drinks mead every morning". After Odin gives her necklaces, she continues to recount more information, including a list of valkyries, referred to as 'the ladies of War Lord'; in other words, the ladies of Odin. In foretelling the events of , the predicts the death of Odin; Odin will fight the monstrous wolf during the great battle at . Odin will be consumed by the wolf, yet Odin's son will avenge him by stabbing the wolf in the heart. After the world is burned and renewed, the surviving and returning gods will meet and recall Odin's deeds and "ancient runes". The poem (Old Norse 'Sayings of the High One') consists entirely of wisdom verse attributed to Odin. This advice ranges from the practical ("A man shouldn't hold onto the cup but drink in moderation, it's necessary to speak or be silent; no man will blame you for impoliteness if you go early to bed"), to the mythological (such as Odin's recounting of his retrieval of , the vessel containing the mead of poetry), and to the mystical (the final section of the poem consists of Odin's recollection of eighteen charms). Among the various scenes that Odin recounts is his self-sacrifice: While the name of the tree is not provided in the poem and other trees exist in Norse mythology, the tree is near universally accepted as the cosmic tree , and if the tree is , then the name (Old Norse 'Ygg's steed') directly relates to this story. Odin is associated with hanging and gallows; John Lindow comments that "the hanged 'ride' the gallows". . In the prose introduction to the poem , the hero Sigurd rides up to and heads south towards "the land of the Franks". On the mountain sees a great light, "as if fire were burning, which blazed up to the sky". approaches it, and there he sees a (a tactical formation of shield wall) with a banner flying overhead. enters the , and sees a warrior lying there—asleep and fully armed. removes the helmet of the warrior, and sees the face of a woman. The woman's corslet is so tight that it seems to have grown into the woman's body. uses his sword Gram to cut the corslet, starting from the neck of the corslet downwards, he continues cutting down her sleeves, and takes the corslet off her. The woman wakes, sits up, looks at , and the two converse in two stanzas of verse. In the second stanza, the woman explains that Odin placed a sleeping spell on her which she could not break, and due to that spell she has been asleep a long time. asks for her name, and the woman gives a horn of mead to help him retain her words in his memory. The woman recites a heathen prayer in two stanzas. A prose narrative explains that the woman is named and that she is a valkyrie. A narrative relates that explains to that there were two kings fighting one another. Odin had promised one of these——victory in battle, yet she had "brought down" in battle. Odin pricked her with a sleeping-thorn in consequence, told her that she would never again "fight victoriously in battle", and condemned her to marriage. In response, told Odin she had sworn a great oath that she would never wed a man who knew fear. asks to share with him her wisdom of all worlds. The poem continues in verse, where provides with knowledge in inscribing runes, mystic wisdom, and prophecy. Prose Edda Odin is mentioned throughout the books of the Prose Edda, composed in the 13th century and drawing from earlier traditional material. The god is introduced at length in chapter nine of the Prose Edda book Gylfaginning, which explains that he is described as ruling over Asgard, the domain of the gods, on his throne, that he is the 'father of all', and that from him all the gods, all of humankind (by way of Ask and Embla), and everything else he has made or produced. According to Gylfaginning, in Asgard: :There the gods and their descendants lived and there took place as a result many developments both on earth and aloft. In the city there is a seat called Hlidskialf, and when Odin sat in that throne he saw over all worlds and every man's activity and understood everything he saw. His wife was called Frigg Fiorgvin's daughter, and from them is descended the family line that we call the Æsir race, who have resided in Old Asgard and the realms that belong to it, and that whole line of descent is of divine origin. And this is why he can be called All-father, that he is father of all gods and of men and of everything that has been brought into being by him and his power. The earth was his daughter and his wife. Out of her he begot the first of his ons, that is Asa-Thor. In the Prose Edda book (chapter 38), the enthroned figure of High (Harr), tells (king in disguise) that two ravens named Huginn and Muninn sit on Odin's shoulders. The ravens tell Odin everything they see and hear. Odin sends Huginn and Muninn out at dawn, and the birds fly all over the world before returning at dinner-time. As a result, Odin is kept informed of many events. High adds that it is from this association that Odin is referred to as "raven-god". The above-mentioned stanza from is then quoted. In the same chapter, the enthroned figure of High explains that Odin gives all of the food on his table to his wolves Geri and Freki and that Odin requires no food, for wine is to him both meat and drink. Thorpe relates that "a story is also current of a golden ship, which is said to be sunk in , near the , in which, according to tradition, Odin fetched the slain from the battle of to ", and that , according to legend, derives its name from "one , who stole Odin's runic staves" () and then bound Odin's dogs, bull, and a mermaid who came to help Odin. Thorpe notes that numerous other traditions existed in Sweden at the time of his writing. Thorpe records (1851) that in Sweden, "when a noise, like that of carriages and horses, is heard by night, the people say: 'Odin is passing by. Odin and the gods and help a farmer and a boy escape the wrath of a bet-winning in or , a Faroese ballad dating to the Late Middle Ages. ==Archaeological record==
Archaeological record
References to or depictions of Odin appear on numerous objects. Migration Period (5th and 6th century CE) gold bracteates (types A, B, and C) feature a depiction of a human figure above a horse, holding a spear and flanked by one or two birds. The presence of the birds has led to the iconographic identification of the human figure as the god Odin, flanked by and . Like the Prose Edda description of the ravens, a bird is sometimes depicted at the ear of the human, or at the ear of the horse. Bracteates have been found in Denmark, Sweden, Norway and, in smaller numbers, England and areas south of Denmark. Austrian Germanist Rudolf Simek states that these bracteates may depict Odin and his ravens healing a horse and may indicate that the birds were originally not simply his battlefield companions but also "Odin's helpers in his veterinary function." Vendel Period helmet plates (from the 6th or 7th century) found in a grave in Sweden depict a helmeted figure holding a spear and a shield while riding a horse, flanked by two birds. The plate has been interpreted as Odin accompanied by two birds; his ravens. Two of the 8th century picture stones from the island of Gotland, Sweden depict eight-legged horses, which are thought by most scholars to depict : the Tjängvide image stone and the Ardre VIII image stone. Both stones feature a rider sitting atop an eight-legged horse, which some scholars view as Odin. Above the rider on the image stone is a horizontal figure holding a spear, which may be a valkyrie, and a female figure greets the rider with a cup. The scene has been interpreted as a rider arriving at the world of the dead. The mid-7th century stone bearing the Odinic name (Old Norse 'army god') may be interpreted as depicting . A pair of identical Germanic Iron Age bird-shaped brooches from in northern Denmark may be depictions of and . The back of each bird features a mask-motif, and the feet of the birds are shaped like the heads of animals. The feathers of the birds are also composed of animal-heads. Together, the animal-heads on the feathers form a mask on the back of the bird. The birds have powerful beaks and fan-shaped tails, indicating that they are ravens. The brooches were intended to be worn on each shoulder, after Germanic Iron Age fashion. Archaeologist comments that while the symbolism of the brooches is open to debate, the shape of the beaks and tail feathers confirms the brooch depictions are ravens. notes that "raven-shaped ornaments worn as a pair, after the fashion of the day, one on each shoulder, makes one's thoughts turn towards Odin's ravens and the cult of Odin in the Germanic Iron Age." says that Odin is associated with disguise, and that the masks on the ravens may be portraits of Odin. Excavations in Ribe, Denmark have recovered a Viking Age lead metal-caster's mould and 11 identical casting-moulds. These objects depict a moustached man wearing a helmet that features two head-ornaments. Archaeologist Stig Jensen proposes these head-ornaments should be interpreted as Huginn and Muninn, and the wearer as Odin. He notes that "similar depictions occur everywhere the Vikings went—from eastern England to Russia and naturally also in the rest of Scandinavia." A portion of Thorwald's Cross (a partly surviving runestone erected at Kirk Andreas on the Isle of Man) depicts a bearded human holding a spear downward at a wolf, his right foot in its mouth, and a large bird on his shoulder. Andy Orchard comments that this bird may be either or . Rundata dates the cross to 940, while Pluskowski dates it to the 11th century. The 11th century Ledberg stone in Sweden, similarly to Thorwald's Cross, features a figure with his foot at the mouth of a four-legged beast, and this may also be a depiction of Odin being devoured by at . and "an interesting magic formula which is known from all over the ancient Norse world." Various interpretations have been offered for a symbol that appears on various archaeological finds known modernly as the . Due to the context of its placement on some objects, some scholars have interpreted this symbol as referring to Odin. For example, Hilda Ellis Davidson theorises a connection between the , the god Odin and "mental binds": Davidson says that similar symbols are found beside figures of wolves and ravens on "certain cremation urns" from Anglo-Saxon cemeteries in East Anglia. According to Davidson, Odin's connection to cremation is known, and it does not seem unreasonable to connect with Odin in Anglo-Saxon England. Davidson proposes further connections between Odin's role as bringer of ecstasy by way of the etymology of the god's name. File:Bracteate from Funen, Denmark (DR BR42).jpg|A C-type bracteate (DR BR42) featuring a figure above a horse flanked by a bird File:Del av hjälm vendel vendeltid möjligen oden.jpg|A plate from a Swedish Vendel era helmet featuring a figure riding a horse, accompanied by two ravens, holding a spear and shield, and confronted by a serpent File:Oden fra Uppåkra.jpg|Figurine believed to be a representation of Odin found at the Uppåkra temple File:Ledbergsstenen 2.jpg|The Ledberg stone at Ledberg Church, , Sweden File:Sacrificial scene on Hammars - Valknut.png| on the Stora Hammars I stone ==Origin and theories==
Origin and theories
Beginning with Henry Petersen's doctoral dissertation in 1876, which proposed that Thor was the indigenous god of Scandinavian farmers and Odin a later god proper to chieftains and poets, many scholars of Norse mythology in the past viewed Odin as having been imported from elsewhere. The idea was developed by Bernhard Salin on the basis of motifs in the petroglyphs and bracteates, and with reference to the Prologue of the Prose Edda, which presents the Æsir as having migrated into Scandinavia. Salin proposed that both Odin and the runes were introduced from Southeastern Europe in the Iron Age. Other scholars placed his introduction at different times; Axel Olrik, during the Migration Age as a result of Gaulish influence. More radically, both the archaeologist and comparative mythologist and the Germanicist Karl Helm argued that the as a group, which includes both Thor and Odin, were late introductions into Northern Europe and that the indigenous religion of the region had been . In the 16th century and by the entire Vasa dynasty, Odin (Swedish: ) was officially considered the first king of Sweden by that country's government and historians. This was influenced by an embellished list of rulers invented by Johannes Magnus. Under the trifunctional hypothesis of Georges Dumézil, Odin is assigned one of the core functions in the Indo-European pantheon as a representative of the first function (sovereignty) corresponding to the Hindu (fury and magic) as opposed to , who corresponds to the Hindu (law and justice); while the represent the third function (fertility). Another approach to Odin has been in terms of his function and attributes. Many early scholars interpreted him as a wind-god or especially as a death-god. He has also been interpreted in the light of his association with ecstatic practices, and Jan de Vries compared him to the Hindu god Rudra and the Greek Hermes. ==Modern influence==
Modern influence
The god Odin has been a source of inspiration for artists working in fine art, literature, and music. Fine art depictions of Odin in the modern period include the pen and ink drawing (1812) and the sketch King Gylfe receives Oden on his arrival to Sweden (1816) by ; the drinking horn relief (1818), the marble statue Odin (1830) and the colossal bust Odin by , the statues Odin (1812/1822) and Odin (1824/1825) by , the sgraffito over the entrance of Villa Wahnfried in Bayreuth (1874) by , the painting Odin (around 1880) by Edward Burne-Jones, the drawing (1883) by , the marble statue Wodan (around 1887) by H. Natter, the oil painting (1890) by , the graphic drawing (1896) by , the painting Odin and Fenris (around 1900) by Dorothy Hardy, the oil painting (1914) by , the painting The Road to Walhall by , the wooden Oslo City Hall relief (1938) and the coloured wooden relief in the courtyard of the Oslo City Hall (1945–1950) by , and the bronze relief on the doors of the Swedish Museum of National Antiquities, Odin (1950) by . Works of modern literature featuring Odin include the poem (1745) by , (1769) by , (1771) by , the tragedy by , the epic poem (1803) by Jens Baggesen, the poem (1803) and (1809) by , poems in (1819) by , the four-part novel (1833) by , "The Hero as Divinity" from On Heroes, Hero-Worship, & the Heroic in History (1841) by Thomas Carlyle, the poem Prelude (1850) by William Wordsworth, the poem Odins Meeresritt by set to music by Karl Loewe (1851), the canzone (1864) by , the poem (1870) by Richard Wagner, the ballad Rolf Krake (1910) by F. Schanz, the novel (1918–1923) by , the comedy (1923) by , the novel Wotan by , (1937) by , the poem (1938) by , and the novel (1941–1942) by . Music inspired by or featuring the god includes the ballets (1818) and (1852) by and the opera cycle (1848–1874) by Richard Wagner. Odin was adapted as a character by Marvel Comics, first appearing in the Journey into Mystery series in 1962. Sir Anthony Hopkins portrayed the character in the Marvel Cinematic Universe films Thor (2011), Thor: The Dark World (2013), and Thor: Ragnarok (2017). He was also adapted in Neil Gaiman's 2001 novel American Gods as Mr. Wednesday, a con artist revealed to be an incarnation of Odin. The character was portrayed by Ian McShane in the television adaptation of the novel. Odin is featured in a number of video games. In the 2002 Ensemble Studios game Age of Mythology, Odin is one of three major gods Norse players can worship. Odin is also mentioned throughout Santa Monica Studio's 2018 game God of War and appears in its 2022 sequel God of War Ragnarök. He is a major influence in the 2020 Ubisoft game ''Assassin's Creed Valhalla in the form of an Isu (a godlike, humanoid species within the Assassin's Creed universe) of the same name. The primary protagonist, Eivor, is revealed to be a human reincarnation of Odin, having inherited his memories and several genetic traits. Odin is also one of the playable gods in the third-person multiplayer online battle arena game Smite''. File:Wotan takes leave of Brunhild (1892) by Konrad Dielitz.jpg|Wotan Takes Leave of Brunhild (1892) by File:Detalj av statyn Odin av Bengt Erland Fogelberg, Nationalmuseum.jpg|Oden, marble statue by Bengt Erland Fogelberg 1830, Nationalmuseum, Stockholm ==Explanatory notes==
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