 <unk> Mørk explains that in songs such as Burzum 's " <unk> " link manliness with Norse tradition and gender ideals , and that the Viking male thus represents traditional masculinity . Most of the Norse references in black metal are heroic , masculine , and militaristic in theme - <unk> , Odin , the iron cross , and berserkers and einherjar . Conversely , Jesus , though a male figure , is seen in songs such as " Jesu død " by Burzum as cold , dark , and life @-@ extinguishing . Christianity is viewed as stigmatizing and suppressing the natural " dark " sides of men , and so , from the perspective of black metal , true masculinity is achieved through exploring the dark sides of man 's nature - warfare and killing . Mørk highlights the thesis of cultural historian Nina <unk> that within Norway , images of nature are often symbolic with cultural affiliation to Norway . <unk> traces the roots of this ideal to Tacitus 's German @-@ heathen identity narrative which romanticized the Germanic people as superior through their connection with nature , and whose brutality and belligerence opposed the apathetic and decadent Roman elite . Mørk concludes that Norse imagery therefore is used within black metal to build a view of natural and authentic masculinity to counter the oppressive force of the Judeo @-@ Christian tradition . 
