Nabataean Incense and the Goddess Al-Uzza

Watching the series Sacred Sites of the World, I learned of the city of Petra in modern-day Jordan with its Nabataean Temple of the Winged Lions where the goddess Al-Uzza and the Egyptian goddess Isis were likely worshipped. This would make it yet another ancient site where incense was burned ceremonially to the goddess.  

The Nabateans (300 BCE to 106 CE) were Arabian nomads from the Negev Desert who "amassed their wealth first as traders on the Incense Routes which wound from Qataban (modern-day Yemen) through neighboring Saba (a powerful trade hub) and on toward Gaza on the Mediterranean Sea." 

Some archaeologists think the Queen of Sheba was a Sabaean.  I was informed by a DJ in Jamaica that the Rastas sing about the Queen of Sheba bringing ganja to King Solomon. 

Spartacus's Wife: The Woman Behind the Revolt

Jean Simmons with Kirk Douglas in "Spartacus" (1960).

It was sadly fitting that on the Day our Democracy Died we also lost Kirk Douglas, who helped break the Hollywood blacklist by hiring Dalton Trumbo to write the screenplay for the 1960 film "Spartacus," telling the enduring story of the 73BCE Gladiator/slave revolt against the Roman empire.

I rented the movie, and was struck by the depictions of the communal nature of the former slave army: people pulling together, women making candles and weaving, etc. I was also struck by the lack of power among the women in the film: Spartacus's love Varinia (Jean Simmons) is a slave forced into submissive prostitution who ends up back in Roman clutches in the end. Simmons appears nearly naked in a bathing scene.

The herstorical facts are different: Spartacus, who came from Thrace, was married to a priestess from his tribe who inspired and aided in the revolt. According to history professor Barry Strauss writing in The Wall Street Journal:

Neither her name nor the name of their tribe survives. Only one ancient source mentions her existence, but he is Plutarch, who relied on the (now largely missing) contemporary account by Sallust. In his "Life of Crassus," Plutarch writes: It is said that when he [Spartacus] was first brought to Rome to be sold, a serpent was seen coiled about his face as he slept, and his wife, who was of the same tribe as Spartacus, a prophetess, and subject to visitations of the Dionysiac frenzy, declared it the sign of a great and formidable power which would attend him to a fortunate issue. This woman shared in his escape and was then living with him. (Plutarch, Crassus 9.3) 

Plutarch, and Strauss, pin her as worshipping Dionysus, the god of wine and liberating "frenzies"; but long before his cult appears, the snake was a symbol of the goddess religions. Scholars think the wines of ancient times may have contained entheogenic plants as well as alcohol.

"La Cucaracha": The Female Mexican Soldier

Most of us know the tune as one sung by Pancho Villa's soldiers:

La cucaracha, la cucaracha
ya no puede caminar
por que no tiene, porque le faltan 
marijuana que fumar

The cockroach, the cockroach
Cannot walk anymore
Because she hasn’t, because she lacks
marijuana to smoke

See 13-year-old Judy Garland singing about "La Cucaracha" and marijuana in 1935 (above). 

Poster for the 1959 film based on the song

La cucaracha was a nickname for a female Mexican soldier, and legend has it that "marijuana" too was named for such a woman, since they were also called juanas.

According to the book Soldaderas in the Mexican Military: Myth and History by Elizabeth Salas, soldiering has been a "traditional life experience for innumerable women in Mexico" since pre-Columbia times. "Women warriors, camp followers, coronelas, soldaderas, and Adelitas are just some of the names given to these women,” she writes. A footnote adds that Juanas and cucarachas were other names applied to women in the Mexican military, along with mociuaquetzque (valiant women), viejas (old ladies) and galletas (cookies).

Salas says "La cucaracha" is a corrido (Mexican folk song) that has its roots in nineteenth century Spain. Later, soldiers in Porfirio Diaz's army sang about "La cucaracha" to mock a soldadera that wanted money to go to the bullfights. "With the Villistas, 'La cucaracha' wanted money for alcohol and marijuana," writes Salas. "She was often so drunk or stoned that she could not walk straight."

New Archeological Finds Point to Ancient Cannabis Use, Despite Prejudice of Some Scholars

“For as long as there has been civilization, there have been mind-altering drugs,” begins an article in the 4/20/18(!) edition of Science magazine.

Alcohol was fermented at least 10,000 years ago in the Fertile Crescent, the article continues, and psychoactive drugs “were an important part of culture. But the Near East had seemed curiously drug-free—until recently. Now, new techniques for analyzing residues in excavated jars and identifying tiny amounts of plant material suggest that ancient Near Easterners indulged in a range of psychoactive substances."

Australian archeologist David Collard, who has found signs of ritual opium use on Cyprus dating back more than 3000 years, was interviewed for the article, and said that some senior researchers consider the topic “unworthy of scholarly attention.” He told Science, “The archeology of the ancient Near East is traditionally conservative.”

By Einsamer Schütze [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 3.0
(https://creativecommons.org/licenses/by-sa/3.0)], from Wikimedia Commons

The Yamnaya people, who traveled from Central Asia around 3000 BCE “and left their genes in most living Europeans and South Asians,” appear to have carried cannabis, which originates in East and Central Asia, to Europe and the Middle East.” They also brought with them the wheel and possibly Indo-European languages.

The Yamnaya were part of the "corded ware culture," so named because of the cord patterns in their pottery, and possibly pointing to the use of hemp for rope.

In 2016, a team from the German Archeological Institute and the Free University, both in Berlin, found residues and botanical remains of cannabis at Yamnaya sites across Eurasia. Digs in the Caucasus have uncovered braziers containing seeds and charred remains of cannabis dating to about 3000 BCE.

Juno/Hera and the Asterion Plant

Juno by Rembrandt (1665)

The month of June is named for the Roman Goddess Juno, known as Hera in Greek mythology.

Hera's devotees wove garlands made from the asterion plant to adorn her statues as an "offer to divinity," according to the historian Pausanias (Description of Greece 2. 17. 1 - 2). Asterion ("little star"; "river of stars"; "star-like leaf") was one of the ancient names for cannabis, according to the first century C.E. Greek physician Dioscorides,* writes scholar Maugerite Rigoglioso in The Cult of Divine Birth in Ancient Greece. 

While others (Kerenyi) have identified the asterion as "a sort of aster," Rigoglioso counters that the aster's dominant feature, the flower, is not mentioned by Pausanias in describing the asterion plant. In History of Pre-Clusian Botany in Its Relation to Aster botanist Edward Sanford Burgess writes that cannabis sativa was among the plants known as "asterion" to the Greeks "from the division of its somewhat radiate leaves"; it was also known as the "plant of the doves." Pausanias said "the priestesses use it for purifications and for such sacrifices as are secret" and Dioscordes said it was called "sacred herb" in this context. The asterion was "twined to create garlands in accord with the widespread use of cannabis for rope-making in the Greek and Roman worlds," (Butrica 2002, "The Medical use of cannabis among the Greeks and Romans," Journal of Cannabis Therapeutics 2(2): 51-70).

Writings at least as early as the 5th century BCE indicate that the Greeks knew cannabis to be a substance capable of engendering a non-ordinary state of consciousness. The Greek god Dionysus is known today as an alcoholic, but some modern scholars (e.g. Jonathon Ott and Brian Muraresku) think what we call Greek wines used alcohol mainly to make tinctures of psychoactive plants. Some of these infusions are thought to contain hemp, dubbed "potammaugis" by Democritus (c.a. 460 b.c.) and possibly why we call it "pot" to this day.

Un-Debunking the Queen Vic Myth about Marijuana

Queen Victoria with five of her nine children

Several authors of late (e.g. James H. Mills in Cannabis Britannica) have sought to debunk the persistent reports than Queen Victoria used cannabis to treat menstrual cramps.

The rumor started when it was discovered that John Russell Reynolds, M.D. wrote an article published in The Lancet in 1890 extolling the virtues of cannabis for cramps and other ailments, while credited as "Physician in Ordinary to Her Majesty's Household."

Cannabis researcher Ethan Russo, M.D., co-editor of Women and Cannabis, wrote in that book that Reynolds was Victoria's "personal physician" and that "it has been widely acknowledged" that she received monthly doses of cannabis for menstrual discomfort throughout her adult life. However, Russo now concurs with Mills's assertion that we have no proof of this.

Reynolds was appointed as physician to the Queen's household in 1878, when she was 59 years old, likely past the age when she would have experienced menstrual cramps. Further, his appointment did not make him Queen Vic's personal physician, but rather one of at least 200 physicians, apothecaries and other attendants in her "medical household," to treat her staff of over 800 persons at her 12 residences. However, she often consulted with various members of her medical staff, and also physicians who were not part of the household. (A. M. Cooke, Queen Victoria's Medical Household, Med Hist. 1982 Jul; 26(3): 307–320.)

Famous for her prudishness, Victoria never hired a female physician and was appalled that female medical students performed dissection alongside their male counterparts. Yet, she was surprisingly experimental when it came to her own medical care. She was an early adopter of chloroform for childbirth, using it in 1853 while giving birth to her eighth child, and again in 1857 for her final childbirth, "despite opposition from members of the clergy, who considered it against biblical teaching, and members of the medical profession, who thought it dangerous." (Wikipedia)

The physician who gave the Queen chloroform for each of these births was John Snow, an eminent epidemiologist and pioneer in anesthesia, who "does not appear to have had any appointment to the Medical Household" (Cooke). So Victoria is known to have consulted with a specialist outside of her household for a relatively unknown treatment.

It's possible, then, that Reynolds also treated the Queen while not yet one of her official physicians, when she was a younger woman. He was certainly prominent enough to have caught her attention:

Queen Caroline Murat and the Treason of Images

Caroline Bonaparte was born in 1782, some 13 years after her brother Napoleon. At the age of 17, she married Napoleon's General Joachim Murat, a dashing, charismatic soldier.

Murat had commanded the cavalry during the French Egyptian expedition of 1798 under Napoleon. It was during the French occupation of Egypt that many of the soldiers—including, I contend, Alexandre Dumas's father—discovered hashish and brought it back to France.

In 1808, the Murats were made King and Queen of Naples and in 1814, Joachim signed a treaty with Austria in an attempt to save their throne, an act Napoleon regarded as treason.

This is the same year that Jean-Auguste-Dominique Ingres, famous for his 1806 portrait Napoleon I on his Imperial Throne, painted his very interesting portrait of Caroline Murat (above). Unlike earlier portraits that depict her as a dewey, maternal creature, Ingres dresses her in a serious black dress and hat, the plume of which mimics the smoke emitting from an image of Mt. Vesuvius erupting in the background.* Her gaze is forceful, knowing. She stands at a table, almost an altar, on which a green tablecloth and Egyptian imagery sits.

"When Napoleon tried to arrest Joachim for treason, he exclaimed in rebuttal, 'Sire, we are not only close to volcanoes, but right on top of them,' with allusions to the political turmoil which caused them to take action against Napoleon. It is possible that he was referencing the alliances that his wife had made with other, more dominant powers like Austria." Source.

Also in 1814, Ingres scandalized the art world with his painting La Grande Odalisque, which was commissioned by Caroline. Nearly every art historian writes about how the painting broke with Ingres's formal realism by elongating the body of the nude. No one else seems to have noticed the striking resemblance of the model to Caroline: the same knowing eyes; the pert, upturned mouth; the glowing skin for which she was reputed.

If the painting was thought to be modeled on the Queen of Naples, painted the same year that she and her husband betrayed her brother Napoleon, that would have been quite the scandal indeed. Adding to that are the hints in Caroline's portrait pointing to smoke and Egypt. Napoleon himself was an early prohibitionist about hashish; perhaps like the Vietnam war generals of late he discovered it made his men too peaceful.

Odalisques were harem girls, often depicted holding a hookah in the mid 1800s (e.g. Delacroix's Women of Algiers). Tucked away at the feet of the woman in Ingres's painting is a pipe holding what well may have been hashish, and what looks like an incense burner emitting smoke. She is holding a fan, the handle of which looks like the mouthpiece of a hookah. Indeed, her elongated body could be said to resemble a pipe, with emphasis on the bowl (buttocks).

It makes me wonder if Magritte's 1929 painting "La trahison des images" references Ingres's Odalisque when it declares, "Ceci n'est pas une pipe." Why, of all objects, did Magritte choose to paint a pipe? Of course, it works as a surrealistic statement ("This is not a pipe; it's a painting of a pipe"); but does the treason (trahison) in the image perhaps refer to Mme. Murat's treason? Une pipe is also slang for a prostitute; was Caroline being disparaged by either painting, or both? (Because as we know the surest and easiest way to disparage a woman is to call her a whore.) Or was the fact that Ingres painted a pipe at his model's feet scandalous?

Historically, French paintings often had political intent. I remember my high school French teacher impressing upon me what a sensation Jacques-Louis David's painting The Death of Marat caused in 1793. Ingres studied with David, and the model's pose in his Odialisque is similar to David's Portrait of Madame Récamier.

Caroline was related to Tokin' Woman Violette Murat; actor Rene Auberjonois (Father Mulcahy in M*A*S*H) is a direct descendant.

Martha Gellhorn, Leonard Bernstein, and the Ballerinas

Looking up war correspondent and third wife to Ernest Hemingway Martha Gellhorn after seeing the spotty-at-best 2102 film Hemingway and Gellhorn, I found this item about Martha and Leonard Bernstein trying marijuana in Mexico at the end of 1948 or the beginning of '49 in Gellhorn: A Twentieth-Century Life by Caroline Moorhead:

Another visitor was Leonard Bernstein, who turned up unannounced one day in Cuernavaca, proposing to move in and stay with her, and bringing with him a grand piano.....Martha moved him smartly into a house up the road, with a large pool, in easy walking distance. He wanted to play Scrabble, which she resisted, hating all games except for gin rummy, but one night, after he had been told by local musicians he met that marijuana made the music flow faster, they got ahold of four joints and prepared to experiment. 

Since they were both terrified of what might happen, they decided to boost their courage by having a few martinis first, generously poured into water tumblers. After a while, beginning to feel ill, Martha crawled toward the spare bedroom. As she reached the bed, she heard Bernstein fall heavily in the sitting room and lie still. She was sick all night; when she fell asleep, her nightmares were appalling. Next morning, she crept home, leaving Bernstein still unconscious on the sitting room floor. 

Too bad about the martinis.

Nicole Kidman, who played Gellhorn in the film, recently appeared in a biopic of Tokin' Woman Gertrude Bell but it hasn't been released, except in Germany. As Gellhorn she has some strong scenes, but in others she's a basket case who needed Hem to help her out. The script was co-written by a woman and a man, I think I know which scenes were written by whom.

Bernstein is depicted snorting coke and drinking heavily in the excellent 2023 film Maestro, with Bradley Cooper playing the title role. Bernstein is said to have described Berlioz's Symphonie Fantastique as “the first psychedelic symphony in history, the first ever musical description of a trip.”  

Gellhorn Hits the Hippie Trail

Much of the following biographical material is straight from Wikipedia or Britannica.com (I hope to read more source material about this amazing woman): 

Martha Gellhorn reported on virtually every major world conflict that took place during her 60-year career. The Martha Gellhorn Prize for Journalism is named after her, and the 2011 documentary film No Job for a Woman: The Women Who Fought to Report WWII features her and how she changed war reporting. Peripatetic by nature, Gellhorn reckoned that in a 40-year span of her life, she created homes in 19 locales.  

Gellhorn famously said, "People often say, with pride, 'I'm not interested in politics.' They might as well say, 'I'm not interested in my standard of living, my health, my job, my rights, my freedoms, my future or any future.' ... If we mean to keep any control over our world and lives, we must be interested in politics."

She started young. At age 7, Gellhorn participated in "The Golden Lane," a rally for women's suffrage at the Democratic Party's 1916 national convention in St. Louis, standing in front the line to represent future voters. In 1926, she graduated from John Burroughs School in St. Louis, and enrolled in Bryn Mawr College. The following year, she left without having graduated to pursue a career as a journalist. Her first published articles appeared in The New Republic. 

In 1930, determined to become a foreign correspondent, she went to France for two years, where she worked at the United Press bureau in Paris, but was fired after she reported sexual harassment by a man connected with the agency. She spent years traveling Europe, writing for newspapers in Paris and St. Louis and covering fashion for Vogue. She became active in the pacifist movement, and wrote about her experiences in her 1934 book What Mad Pursuit. 

Returning to the United States in 1932, she was invited to live at the White House, and she spent evenings there helping Eleanor Roosevelt write correspondence and the first lady’s “My Day” column in Women's Home Companion. She was hired as a field investigator for the Federal Emergency Relief Administration (FERA), created by Franklin D. Roosevelt to help end the Great Depression, and worked with photographer Dorothea Lange to document the everyday lives of the hungry and homeless.  

Writing about Gellhorn's book based on her FERA work, The Trouble I've Seen (1936), Eleanor wrote, “Martha Gellhorn has an understanding of many people and many situations and she can make them live for us. Let us be thankful she can, for we badly need her interpretation to help understand each other.” Gellhorn wrote the introduction to a collection of The First Lady's "My Day" columns. 

In 1937 she accepted her first war assignment, covering the Spanish Civil War for Collier’s Weekly, and it was during this time that she began an affair with Hemingway. He dedicated For Whom the Bell Tolls (1940) to her, and they married in 1940 (divorced 1946). 

 In 1944, Gellhorn impersonated a stretcher bearer to witness the D-Day landings during World War II. In the 1960s and 70s, she worked for the Atlantic Monthly covering the Vietnam War and the Arab-Israel conflicts. She passed her 70th birthday in 1979 but continued working in the following decade, covering the civil wars in Central America. As she approached 80, Gellhorn began to slow down physically, although she still managed to cover the U.S. invasion of Panama in 1989. 

Gellhorn's books include a collection of articles on war, The Face of War (1959); The Lowest Trees Have Tops (1967), a novel about McCarthyism; and a collection of her peacetime journalism, The View from the Ground (1988).  

Hemingway and Gellhorn is based in part on Gellhorn's book Travels with Myself and Another (1978) an account of her travels (including one trip with Hemingway). In the book, writing from Hong Kong, she describes coolies who "smoked opium at ten cents for three tiny pills, because opium was cheaper than food, took away the appetite, and rested the strained and tired muscles." 

Writing from Israel in 1971, Gellhorn interviews a group of hash-smoking hippies as though she were Margaret Mead in Samoa. Hash was a "commodity traded by the Bedouins" that "soothed the gnawing ennui and induced giggling or dreaminess. They talked of little else. Like their bourgeois elders, who swap names of restaurants, they told each other where the hash was good." 

She wrote that in such company, "Someone who smokes nicotine [her] not hash was like a teetotaler in a saloon." Apparently describing her cross-fade experience with Bernstein, she writes, "I explained that I had tried pot once, before they were born or anyway lapping up baby food, and once was enough. For twelve hours I lay like a stone statue on a tomb, while a few flies circled around, as large and terrifying as bombers." Declaring herself "allergic to pot," she asserted that, "Mount Carmel wine did for me what joints did for them."  

Ernest Dowson and The Days of Weed and Roses

Going further back, a Joyce Kilmer essay, “Absinthe At the Cheshire Cheese,” published in his 1921 book The Circus: And Other Essays and Fugitive Pieces, states, "When Dowson took hashish during his student days, Mr. Arthur Symons tells us, it was before a large and festive company of friends.” He is speaking of poet Ernest Dowson, whose famous turns of phrase include “gone with the wind” and “the days of wine and roses.”

Margaret Mitchell, touched by the "far away, faintly sad sound I wanted" of Dowson's line, chose it as the title of her epic Civil War novel. In the 1962 movie Days of Wine and Roses, Jack Lemmon leads Lee Remick into alcoholism (by giving her a crème de cocao-containing Brandy Alexander after she says she likes chocolate).

Symons, a Baudelaire scholar who is said to have had a psychotic breakdown in 1909, was an influence on Yeats and a member, along with Dowson and Yeats, of the bohemian Rhymers' Club, whose members reportedly used hashish. In 1918 he wrote a piece for Vanity Fair titled, "The Gateway to an Artificial Paradise: The Effects of Hashish and Opium Compared," in which he says hashish "has the divinity of a sorceress, the charm of a dangerous and insidious mistress."

The book Arthur Symons by John M. Munro says, “The years between the publication of Days and Nights (1889) and London Nights (1895) may properly be referred to as Symons’ Decadent period…..he experimented, cautiously, with hashish…. The footnote reads: “On one occasion, John Addington Symonds, Ernest Dowson, and some of [Arthur] Symons’ lady friends from the ballet all tried hashish during an afternoon tea given by Symons in his rooms at Fountain Court." Symons described the event:

"Dancers" by Edgar Degas, c. 1878

No word about the effect on the ballerinas, except perhaps for their laughter.

Despite Symons saying hashish (or the more beautifully spelled haschisch) had been Dowson's favorite form of intoxication in college, Kilmer downplays the effect it might have had on Dowson's work,  calling it "incongruous and unconvincing....He was an accomplished artist in words, a delicate, sensitive and graceful genius, but he was no more fitted to be a pagan than to be a policeman."

The moralistic Roman Catholic poet who wrote, "I think that I shall never see /A poem as lovely as a tree," Kilmer writes in his essay on Dowson, "There are, and there have always been since sin first came into the world, genuine decadents. That is, there have been writers who have devoted all their energies and talents to the cause of evil, who have consistently and sincerely opposed Christian morality, and zealously endeavored to make the worst appear the better cause. But every poet who lays a lyric wreath at a heathen shrine, who sings the delights of immorality, or hashish, or suicide, or mayhem, is not a decadent : often he is merely weak-minded. The true decadent, to paraphrase a famous saying, wears his vices lightly, like a flower. He really succeeds in making vice seem picturesque and amusing and even attractive."

Viking Völvas and Cannabis Seeds

In 1903, near the Oseberg Farm in Norway, a farmer discovered a Viking ship built around 820 AD that had been buried for 11 centuries. The ship contained the remains of two women, along with two cows, fifteen horses, six dogs, several ornately carved sleighs and beds, plus tapestries, clothing, and kitchen implements, and—it was discovered in 2007—a small leather pouch containing cannabis seeds.

The find is similar to the Siberian “Ice Princess," a 2500-year-old elaborately tattooed mummy who was found in 1993 similarly appointed with a container of cannabis.

In 2012, archeologists found that hemp had been grown as early as 650-800 AD in Norway, most likely for cordage and sails for ships. However, speculation that the women were carrying cannabis seeds to enable them to cultivate industrial-grade hemp upon their arrival in the next world is disputed by the fact that none of the ropes or textiles found on board the Oseberg ship were made from hemp. “This suggests that the cannabis seeds were intended for ritual use,” writes M. Michael Brady.

One or both of the Viking women, whose ages have been estimated at 50 and 70, may have been a Völva (“priestess” or “seeress”). The older woman, possibly the legendary Queen Åsa, was buried holding a wooden wand or staff, “not only a shamanic implement but also an insignia of their profession. Indeed, the Old Norse term völva has been widely translated to mean a woman ‘wand carrier' or ‘magical staff bearer,’” writes Evelyn C. Rysdyk in her book The Norse Shaman.

"A metal rattle of the sort that a Völva could have used in rituals was found on the ship, fixed to a post topped by a carved animal head and covered with sinuous knot work," writes Brady. "Völvas are presumed to have employed psychoactive substances, as in burning cannabis seeds to induce a trance." In 450 BC Herodotus described Scythian funeral rites where cannabis seeds were thrown onto hot stones and "the Scythians, transported by the vapor, shout aloud."

"Women in ancient Norse society were the ones who primarily practiced shamanism or seiðr,” writes Rysdyk. “A woman who practiced this art was known as a seiðkona or völva. During the Viking Age, practitioners of seiðr were often described as women past their childbearing years [as were both of the women on the ship]. Like their Paleolithic and Neolithic sisters, these women carried the tools of their trade into death….A völva buried in Fyrkat, Denmark was buried with a box containing her talismans or taufr. These included an owl pellet, small bones from birds and animals as well as henbane seeds. When thrown on a fire, henbane seeds can produce a hallucinogenic smoke that gives those who inhale it a sense of flying which may have enhanced the völva’s trance. The völur who were buried in the Oseberg ship were similarly outfitted with a pouch of cannabis seeds for their journey beyond life.”

A silver-gilt, 10th-century figurine
found at Harby, Denmark which may
represent Freyja, a Valkyrie,
or a human warrior woman.

In A History of the Vikings: Children of Ash and Elm, Neil Price writes of hallucinogens being found in graves of völva, and the role of mythical women in Viking lore, such as the Valkyries, female spirits that guide the dead. "Contrary to the general assumption that the Viking warrior dead went to Odin in Valhalla, only half of them actually found a posthumous home there," Price writes. "The remainder traveled to [the goddess] Freyja in her great hall of Sessrumnir, 'Seat-Room'." 

Freyja taught Odin seithr (seiðr), the "highest, most terrible magic." Seithr could "confuse and distract at a fatal moment, or fog the mind with terror. It could strengthen the limbs or disable them, giving someone godlike dexterity, or reduce them to stumbling uselessness. It could make weapons unbreakable or brittle as ice. It was the magic of the battlefield, the farm, the field, the body and the bedroom, and the mind. There was nothing coincidental about its associations with the divinities of war, sex, and intellect." 

Other Viking goddesses included Idun, the keeper of the golden apples that ensured the gods' eternal youth; Eir, a goddess of healing; and Odin's wife Frigg.