So it goes with saying that only things I own with any connection to MARVEL I bought on Ebay or Etsy. MARVEL COMICS & MARVEL CINEMATIC UNIVERSE are their own creatures and I have nothing to do with either of them aside from the fact I enjoy reading or watching them, and am grateful for the ability to play in their world. I claim nothing, and I receive nothing for this, expect the pleasure of putting something out into the world.
This story is part of several prequels leading up to That Which Wanders is Unaware. The sequel to TWWiU will be updated every week, but the prequels will be updated is I get to them.
You can also find this story on ARCHIVE OF OUR OWN under the same title and pen name.
Don't forget to check out the Photobucket album by searching the title of this story and my user name.
CHAPTER ONE
SUNDAY, APRIL 26TH 1942
1001 HOURS
TELAVÅG, NORWAY
LIF AUSA
?
ÍVIÐIA
Myth or Misconstrued History?
In Norse mythology, Íviðia is a little know folkloric figure. Almost exclusively spoken of in oral traditions, it wasn't until archeologists unearthed several burial mounds spanning multiple locations across Western Norway, and found each containing an amulet bearing her likeness that her story finally garnered some interest from the academic community.
There are a number of variations to the story of Íviðia, despite that they all bare certain commonalities. She is associate strongly with fertility, seiðr, young life of all kinds, and death. There is also evidence given the number of distaff shaped wands found in the burial mounds that she may have been associated with the vǫlva, if not an important one herself.
Given that her story has yet to be discovered in any historical Norwegian records, it is hard to determine how old her legend is, or how widely spread it became. As it stands today though, she is mostly spoken of in Western Norway, as well as the country of Vestfold.
NAME
The name Íviðia has been variously explained as meaning "witch", "she who dwells in the wood" or "giantess" As the modern English alphabet lacks the (ð) and (Í) characters, Íviðia is sometimes anglicized as Ividia, Evidia or Ivithia.
The earliest historical records with that name emerged from the 16th century. Since the true viking age all but died out during the mid to late 14th century following the arrival of the black plague, 19th century scholar Joseph Behrend proposed that Íviðia was considered more of an epithet then a name during the viking age, and using it freely was viewed is taboo.
Given and the subsequent Christianization of Scandinavia the reemergence of a Pagan name centuries later has interested historians, even more so given that the name seems to have vanished from use completely less then halfway through the 16th century. Typically something like that is precipitated by a significant historical event, but no such occurrence has yet been identified.
MYTHS
Variation 1:
It was the fifth month of winter, the month of Gói according to the Norse. February 12th - March 13th on the Gregorian Calendar. The time of year is known because it is directly mentioned in the story, though it does not include any other reference.
One village had been raided by another, a practice which was not an uncommon one, and their food stores were greatly diminished. The villagers were hungry, sick, and the strong injured from the fighting. So they turned to their gods. Despite their hardships they prepared for the blót to welcome Gói, a daughter of Þorri, and ask the gods to strengthen them and to bless their seeds so that they might have an excellent crop when the winter ended.
When they came to the site to prepare it they found a woman was already there. She was unlike them, she had honeyed skin, and eyes as green as saplings. She was dressed in clothes beyond even their greatest skill, and she sat in a circle of knot-work. They say despite the season the circle was untouched by the snow, and outside it there was not a single foot print to mark her approach. They even said above it that the trees had been shaved bare.
The woman was clearly not human, but she was also not Gói, for Gói was the daughter of winter. So they asked her name, and the woman said nothing. She did not speak, did not hear, did not see, and did not move. They sang for her, danced for her, and sacrificed for her, yet she did not move. Even when they touched her and tended to her she did nothing. The only thing she ever did was let her eyes water the earth.
Then one day one of the villagers went to see the woman in the clearing. She brought her child with her, along with a sacrifice. She end up returning to the village, with the child, the Völva who watched over the women in the clearing, and the sacrifice, which was covered in blood but very much alive.
They said the woman left. They said she stood and laid her hands on the boy as he cried. They said he grew into a man and never once felt the touch of illness. They said she laid her hands on the hen, and the gash in its flesh closed. They said that chicken and its children from then on could lay three eggs a day. They said that even in the heart of winters no one in that village dared touch a knife to those chickens again. The said on the first day of the thaw the clearing she sat in grew so flush with wheat that it spread to the hills around it and not even the shade kept it from growing tall.
They say she never returned to that village, but they also said that wasn't the end of her story. No one ever ever saw her do it again but from time to time, unexplainable acts would happen. A child on death's door would regain its health; a lame animal would walk again; or a failed crop would flourish even better than before. These things would happen unobserved, and people would talk of seeing a foreign women in a hooded cloak in the market with honeyed skin and green eyes.
Variation 2:
Despite the fact that they are often described as fair-haired blonde beauties, one variation connected to the tale of Íviðia describes her as a Huldra. The Huldra are forest spirits in Scandinavian mythology that are often associated with agriculture and crafts. On top of being described as a fair haired beauty another trait of the Huldra is the fact that they have a tail similar to a cow's and it is said that their back resembles a hollowed out tree.
This variation tells of a nameless blacksmith from the village. In this story the specific circumstances are not mentioned, but it is implied that their relationship started after he rescued her from harm. It is said that each morning before he awoke she would rise and tend the coal fires for him.
The legend says that the blacksmith, along with almost all of the villagers died while she was in the forest. The only survivor in the story was a little blonde boy. When she came back to the village only to find her lover dead, she grew a field from the ashes as a living memorial, before taking the child as her own and vanishing.
Variation 3:
In this version she is neither Goddess, nor Nature spirit, in fact in this version there is great debate regarding whether or not it is even connected.
In this variation she is not called Íviðia, but Saint Vivian, patron Saint of children and dogs. Given her description of 'a woman of Asian descent with unusually colored eyes', and the speculated time period it is quite possible she was a follower of Nestorianism. There are little to no details about her life prior to her time in Norway, other then the fact that she was believed to be the illegitimate daughter of a European trader. In her time Scandinavia though it is said that God chose her to be an instrument of his glory. Through his grace she was able to heal the sick and injured, and by the power of his majesty many pagan souls were saved.
ARCHAEOLOGICAL RECORD AND HISTORICAL DEPICTIONS
Even though no historical documentation has been discovered as of yet to connect the myth of Íviðia to the actual Viking age, several talismans have been discovered within burial mounds across Western Norway. While there is no way to determine the exact age, given the craftsmen ship of the other artifacts and weaponry found within the respective burial mounds place the them some time between 1400-1500 A.D
The talismans are made from bronze, and vary between 2.5 cm – 3 cm thick with diameters between 7 cm – 8m. The front of each has a depiction of a woman standing profiled. She is shown wearing a circlet and temple rings on her head. The lines depicting her hair suggest that she was also a maiden, is it's believed that married women wore their hair up or covered. She is shown in a shawl and an apron dress, both of which have embroidered hems. At her feet is a small animal, and while it is clearly a mammal there is debate is to whether it is a cat or a small dog. There is also a tree in the depiction, that she has her hand against.
On the back of the talisman are features that suggest its religious significance and separate it from everyday jewelry. Set in each is a piece of what appears to be antler or bone that has been carved into the runic symbol Laguz which is associated with water, and stained brown with what has been theorized to be blood. The exact significance of that is uncertain but given that each body had the talisman positioned over their heart beneath their clothes that it might have been used as an enhancement charm. Given the correlation between water and blood, the most popular theory is that it was related to health.
Goddess. Spirit. Nun. That last one always amused, and hooked my interest the most. While it was uncommon for the Christian missionaries to absorb the myths of cultures into their doctrine for the sake of converting the population, it always seemed odd that they would do it with a myth so small. Why bother if not for the fact they took her legend rather seriously.
Its what made me take it just is serious. Joseph Behrend's research on her legend, however marginal, proved to be an excellent start. In truth I'm surprised he discovered as much about her as he did. He lacked my determination and resources after all, and they made it very difficult for me.
They kept her very well hidden, her followers. That incident in the 16th century was particularly impressive. They used the lightning of the storm to hide their sabotage of the castles gunpowder tower, and the following chaos to dispose of the manuscripts, and the unfortunate monk who learned too much. Adding his body to the dead from the explosion raised no questions after they dropped some of the heavier rocks on his corpse.
They were able to prevent her legend from being recorded, they were even able to suppress the use of her name through ugly rumors. Both successful efforts in keeping her resting place safe. But even the best efforts can't stop parents from telling stories to their kids, and can't account for all the treasures hidden amongst the dead. That ultimately was what lead me here, their respect for their dead, and the fact that no matter how determined they are, a single village can not unearth centuries of the dead. They couldn't even defeat a small battalion.
"Herr Schmidt?" The voice of the Oberstleutnant who lead the battalion on this mission does watch my attention, but not enough to draw it away. I already know what he is going to tell me, and I'm far more interested in imagining what I'll see when this ice surrenders its secrets and no longer distorts them into dim colors.
"Load it on the ship." I finally add as I pry my hands and eyes away. Lingering here in a fishing village at this point is just a waste of my time. "And do be careful. We wouldn't want to wake her up prematurely. There's no telling what mood she might be in."
There are always steps to a treasure hunt. Research. Excavation. And if you have any sense of professionalism. Cleaning up after yourself. My eyes settle on across the crowd one, a calm gaze, meeting the frightened and furious return of many, then they drift to the gaze of an individual again
"Destroy 'everything'." I order the commander, and barely even listen to his "Hail HYDRA" is I finish adjusting my cap.