Gone Medieval — Ragnarok & The End of the World

Podcast: Gone Medieval (History Hit)
Host: Matt Lewis
Guest/Co-host: Dr. Eleanor Barraclough
Episode Air Date: October 17, 2025

Episode Overview

This episode is the conclusion of Gone Medieval’s mini-series on Norse mythology, focusing on “Ragnarok,” the Norse myth of the apocalypse. Host Matt Lewis and guest Eleanor Barraclough explore Norse beliefs about the end of the world, examining the mythic events of Ragnarok, their sources, the possible meanings behind them, and why stories of destruction and rebirth held particular significance in medieval Northern Europe. The conversation weaves together literary sources, archaeological finds, and considerations of how these stories may have resonated with their original audiences—analyzing not just the details of the myth, but also the enduring power and interpretation of apocalyptic storytelling.

Key Discussion Points and Insights

1. Introduction: Setting the Stage for Ragnarok

• The episode opens with host Matt Lewis recapping the mini-series so far, leading into the final episode (03:01).
• King Gylfrey delivers a dramatic retelling of the Ragnarok myth, providing the primary narrative thread through the key mythic events (04:05–11:40).

2. The Meaning of "Ragnarok" (12:02)

• [12:15] Eleanor Barraclough: Provides an etymological breakdown. Two forms are discussed:
  • Ragnarök: Often “fate of the gods.”
  • Ragnarökkr: “Twilight of the gods,” a phrase made famous by Wagner and others.
• Quote:

  “So it’s either the Fates of the Gods or the Twilight of the Gods. Either way doesn’t sound good for the gods, really, does it?” — Eleanor Barraclough (13:25)

3. Norse Uniqueness and Human Fascination with Apocalypse

• [14:22] The Norse apocalypse is notably bloody, dramatic, and features giants, gods, and monsters—a blend unique to their mythic tradition.

• The volcanic, icy landscape of Iceland and its unpredictable dangers may have influenced these stories, especially with real-world events like major volcanic eruptions providing a template.

  “We can at least sort of invite the possibility that it’s not just Norse, but it’s an Icelandic take on that myth.” — Eleanor Barraclough (15:17)

4. Sources: Where Do We Learn About Ragnarok?

• Main textual sources are the Poetic Edda and Prose Edda, both 13th-century Icelandic works written after the Christianization of Iceland (16:47).
• Archaeological evidence like the Gosforth Cross in Cumbria features carvings that mix Christian and Norse Ragnarok imagery (17:09).

5. Christian Influence and Cyclical Apocalypse

• Discussion of whether the post-apocalyptic renewal in Ragnarok arises from Christian ideas or has deeper mythic roots (18:52–21:18).
• Norse apocalypse includes not just destruction, but the rebirth of the world, paralleling motifs like Noah’s Ark.
• The universal human impulse to see cycles of destruction and renewal in myth is highlighted.

6. The Events of Ragnarok: Key Mythic Narrative

King Gylfrey’s Recital (04:05–11:40) and Barraclough’s Recap (22:06+)

Sequence of Events:

• Loki’s punishment and the quaking of the earth.
• The weird of the gods signaled by three winters of warfare, moral and social breakdown.
• Darkness: A giant wolf swallows the sun; another, the moon; stars disappear.
• Cataclysm as Fenrir breaks free, the Midgard Serpent rises, and the dead’s nail-ship Naglfar is launched.
• All bonds break; the monsters, led by Loki and Surtr (the fire giant), confront the gods.
• Heimdallr blows his horn; the world tree Yggdrasil trembles.
• Final battle: the gods vs. giants and monsters, each fated for a specific foe:
  • Odin vs. Fenrir (Odin is killed)
  • Thor vs. Jörmungandr (both die)
  • Freyr vs. Surtr (Freyr falls)
  • Loki vs. Heimdallr (both perish)
  • Tyr vs. Garmr
• Surtr casts fire over the earth; the world is consumed.

“Fire shall rage in his eyes and blaze from his nostrils as he devours the earth and the sky. At the side of Fenris Wolf shall be the Midgard Serpent, spitting venom into the air and water.” — King Gylfrey (06:05)

Renewal:

• Earth rises anew, green and fair.
• Some gods survive or return: Vidar, Vali, Baldr, Hodr, and Thor’s sons.
• Two mortals, Lif and Lifthrasir, survive to repopulate the earth.

“Ragnarok is not quite the end of all things. Eventually the Earth shall emerge from beneath the oceans and it will be green, lush and fair.” — King Gylfrey (11:20)

7. Fated Pairings and Ideological Symbolism

• Each major god faces an opponent embodying a sort of cosmic opposition or ideological reflection (28:24–30:39).

  • Freyr (fertility) vs. Surtr (fire)
  • Thor (weather/good order) vs. Jörmungandr (chaos)
  • Odin (Allfather/order) vs. Fenrir (chaos/doom)
  • Loki vs. Heimdallr; Tyr vs. Garmr

• Connections to the natural world, climate anxieties, and volcanic disasters are woven into the symbolism.

  “There is a grimness in the sagas, in the mythology—lightness as well, humanity, sort of…humor, but…there is a grimness about Norse culture and a grim humor with it.” — Eleanor Barraclough (54:34)

8. Human Role in the Myth and Ritual Practice

• Mundane human acts—trimming fingernails, discarding leather scraps—are woven into the myth as ways to hinder the apocalypse (35:39, 41:00).

• Humans participate by joining the ranks of the dead in Valhalla or Hel, contributing to the final armies.

• The mundane is mythologized; belief, superstition, and custom blur together.

  “Ragnarok can’t be averted. But we still have agency in all the moments leading up to it.” — Eleanor Barraclough (23:23)

9. Audience, Storytelling, and Legacy

• The “animating” quality of Norse myth: Even those who study it years later feel pulled in, as if it’s more than just fiction (39:21).

• The drama, violence, and spectacle make these compelling, enduring stories.

• The open ending (hopeful or not) is likely tailored to audience and context; regional and individual variation is probable (56:23–58:38).

  “If the audience are playing ball and they’re being really engaged, you give them a bit of hope at the end. But if it’s not going quite so well…you just leave them with: fade to black, roll credits, everyone’s going to die, and that’s the end of it.” — Matt Lewis (58:21)

10. The Message of Ragnarok: Fate, Fragility, and Hope

• Discussion of fate (Old Norse: “wyrd,” Old English: “wyrd bið ful ãræd”—fate is inexorable) and humanity's inability to control, only respond to, destiny (50:41–54:05).

• Ragnarok is as much about the necessity of hope and renewal as it is about doom.

  “Yes, hardship and disaster, but with hope at the end of it…a requirement for hope in the face of all of that fear.” — Matt Lewis (50:20)

Notable Quotes & Memorable Moments

• On the cyclical nature of myth:

  “Apocalypse is not the end of all times. It’s not like the opposite of the big bang. Apocalypse is this unveiling…it’s the end of things, but often the start of new things. And you see that in cultures all around the world.” — Eleanor Barraclough (20:36)

• On the story’s drama and appeal:

  “Surely the point of them…these are meant to be told dramatically around the fire while everyone is getting drunk after dinner. And you need it to be entertaining.” — Matt Lewis (38:22)

• On personal engagement with myth:

  “You spend enough time doing Norse mythology…you stop seeing it as entirely fictional. It’s very, very hard to maintain that distance.” — Eleanor Barraclough (37:20)

Key Timestamps

• Dramatic Recital of Ragnarok by King Gylfrey: 04:05–11:40
• Etymology and Meaning of “Ragnarok”: 12:15–13:28
• Icelandic (and volcanic) roots in Ragnarok imagery: 15:20
• Primary sources and archaeology (Gosforth Cross): 16:47–17:09
• Christianity’s influence on Ragnarok and its afterlife: 18:52–21:32
• Full Narrative Arc of Ragnarok: 22:06–27:18
• Fated Pairings & Symbolism in the Final Battle: 28:24–30:39
• The Role of Humans and Ritual in the Apocalypse: 35:39–37:18
• Psychological and cultural function of apocalyptic myths: 45:15–54:05
• Open endings and audience participation: 56:23–58:38

Final Thoughts

The episode closes as it began: with the sense that Norse mythology, and Ragnarok in particular, is not just a story of endings, but of perpetual renewal. It reflects a culture intimately aware of the fragility of life and environment, expressing both fatalism and hope—passed down through centuries, constantly retold and reinterpreted.

Eleanor Barraclough:

“There are deeper core messages that need to be passed on…the message is that, yes, fate is fixed…But it’s every moment that leads up to that final moment that counts. And I think that is…the message of Ragnarok.” (52:38)

If you’ve missed earlier episodes in this Norse mythology mini-series, head back in the Gone Medieval feed for more on creation, the gods, and the forging of mythic tradition.