|
The
Book of Seiğr
The Book of
Seiğr
The Native English and
Northern European Shamanic Tradition
By
Runic John
Review by Rig
Svenson
Word Count: 6913
Research for a modern word definition on seiğr is
problematic as there are varying conflicting views on its meaning?
Among common interpretations of seiğr
are seething, magic, usually negative and even a type of fish?
Let’s look deeper and based on modern interpretations:
Heggstad, Norro/n Ordbok (4th edition 1990): seidhr m. I. (-s and -ar)
A kind of trolldom (with song), seid; efla (seidha) seidh, to
perform such trolldom, to seid.
Trolldom is simply a word meaning sorcery, witchcraft or
black magic. Old Norse, seidhr, which may come from a word meaning
"to speak" or "to sing", or possibly be cognate
to the verb "to seethe", derived from the rituals of
salt-boiling (Grimm, III:1047).
The mysterious term is cognate with French séance, Latin
sedere; Old English sittan, and thus with a large group of terms
based on the Indo-European root *sed-. Seidhr as literally a séance
-- a "sitting" to commune with the spirits. (Shamanism
and Old English Poetry, p. 97)
Ursula
Dronke in her Poetic Edda, Vol. II comments that
Seiğr was a professional exercise of psychic or 'magical' powers
designed to learn the unknown, control conditions and events, by
communication with spirits and the exploration of their world.
Etymologically, seiğr appears to belong among a group of
Indo European words with an underlying sense of 'binding', but which
often developed connotations of 'magical binding' (e.g. Welsh hud,
'illusion'; Old Cornish hüd, 'magic charm'). ...That the 'binding'
in seiğr could refer both to the control of spirits by the
medium and to the possession of the medium by the spirits, may have
been an ambiguity accepted even in the pagan period.
Further
Reading:
Jan
De Vries' Altergermanische Religiongeschichte, and the examples
cited there, and C. Tolley "A Comparative Study of
some Germanic and Finnish Myths" (D. Phil Thesis, Oxford, 1993 p.
366-485).
Seiğr
was most likely a form of mind control, as
it seems to be the antithesis of galdur making folks do
things against their wishes, or implanting thoughts and desires they
would not normally have. It could be seen as an underhanded type of
love-magic too, which is why I think it was seen as a women's tool
by some folk. The 2
best known examples would be Aurboda, Gerd's mother, enchanting Frey
in Skirnismal; and Odin using witchcraft to seduce Rind, in Saxo
Book III, cp. a loose verse in Skaldskaparmal which says "Odin
wrought siğr on Rind".
The word Seiğr
has been often misused as a blanket term for spae-craft,
'witchcraft', any of the activities which can appear as parts of the
shamanic complex. This
was one of the very first things Runic John told me when I first met
him.
Runic John is a Wodensman and I experienced his seiğr workshop firsthand
inside a re-constructed Iron Age roundhouse at Ripon in the county
of Yorkshire. I found
RJ to be a straightforward no messing hands-on kind of guy who goes
out of his way to help and educate his students. His
convincing soul journey drumming and confidence exuberated
throughout the session impressing me whilst inspiring others present
in that crammed dark roundhouse. I also observed his very lively body language interaction
with his students, the mark of a good teacher as he brings his art
to life.
However be assured that this does not affect my objectivity in this
review. RJ is a well liked practising heathen in Northern England
and I never thought I see the day when a northern Englishman would
write such a practical user friendly workbook on
seiğr
as a guide for all
those who wish to walk this journey of the boiling cauldron. If you
have come searching for academia backed with absolutes on the
practises of seiğr,
then this is not the book for you.
In fact I do not think any such book could be written as seiğr or spœ
work does not fall under the remit of academia nor is there any
solid referencing towards actual practises. On
the other hand, if you want a step by step practical journeyman’s
explanation of how to approach the ancient ones, taking on board
relevant valid teaching of the North and RJ’s personal guidance
then please read on. To
the author’s credit, this book is very different from any prior
works I have read about the subject of
seiğr published or in electronic
format!
There are 334 pages in this book covering 15 Chapters with many
illustrations plus photographs including Runic John himself. The
reader should note though that this is not a book to glance through
and read only. It is a practical hands on workbook written for the
neophyte who has little or no grounding in Elder lore or Northern
Ways. You will get out of this book what you put into it and there
is a lot to put in. I
find the author’s honest approach refreshing as he does not ask or
expect the reader to accept all he writes but to consider his
arguments carefully giving the reader the freedom to adapt and
expand their own ideas within the context of his initial guidelines.
This is as it should be.
Moreover he also declares that he has studied many other traditions,
taking a holiday from time to time from his very own faith. This
exercising of various traditions is common amongst many other
experienced magicians as I can personally attest to that from my own
learning. Trance work is not every ones cup of tea because it initially
requires letting go and putting trust in the godform energies. This
I have found in many cases to be not such an easy accomplishment
mainly because of fear via of hell or the unknown.
Every kind of interaction on this planet carries with it a
degree of risk. An
element of trust is required as well as courage on the part of the
new seiğr practitioner. I
particular like this little forward on page one:
When
I was a young boy, I imagined giants lay sleeping in the hills that
surrounded my home; it is only as I have grown older that I have
come to realise that they do.
Are the gods real? Are the giants real? They say that seeing is believing
and ancient seiğr
practises, in my opinion is but one sure fire way you will meet the
gods and giants though I cannot say for certain how you will see
them or when they will enter your life? Ultimately the decision to
work seiğr
and at what pace is up to
you.
Chapter
One
Chapter One covers the Elder Lore, a good grounding introduction. I agree
with the author’s sentiments that much of this lore was lost and
absorbed under the general titles of Witchcraft or Sorcery. I would
further add that survivalsim of Northern Ways have left its mark on
customs and landmarks. Name
places, such as the Woden (English Odin) town of Wednesbury is a
good example. This has
to me always been a moot point when other traditions, such as the
Celtic Tradition look surprised that aspects of the North still echo
within their religious mythology or framework? He also suggest that
the Christian fear of sexuality as ungodly ascribed to the goddess
Freyja and sorcery as is Woden’s forte led to this Northern art
being prioritised for urgent purging and removal by the Church.
Runic John furthermore suggests that Woden
possessed the power of speech and song to bend the will of men.
This
is an important aspect in my opinion of
seiğr
many do not realise or disregard as it has obviously inherent
dangers attached to this kind of woe wealing. But do not confuse
this danger with that of the threefold return rule, rather at
the most basic level the
seiğr
practitioner is able to project images into the minds of susceptible
individuals that are interpreted first as dreams and later as real
events. In more advanced students the projected image takes on a
physical reality and in the adept can become a true reality. Interfering with the orlog (fate) of others is a serious
business and there are rules governing our universe for in my view
nothing is free, so be warned this is not a dungeons and dragons
game and treating it without the respect it deserves has
consequences far beyond the scope of a few choice words.
It
was this power that is believed by some elder scholars to have
caused the Aesir gods to fear Gullveig (Voluspa 21) so that they had
her burnt thrice, causing the start of the first war between the
Aesir race of gods and the Vanir, known collectively as the Tiwar. There is still
heated debate in Northern Tradition circles today as to the validity
of shamanism in Northern Ways but the author plainly states that he
believes there is a connection. The Edaic Lay Lokasenna or Loki’s
Wrangling is cited as a reference that Odin practised the art of seiğr
and used “drums” but I remain unconvinced of this
interpretation. Ynglingsaga or The
Story of the Yngling
Family from Odin to Halfdan the Black suggest according to the
author that Odin was able to change his form of skin, in fact a sort
of shape-shifter. Nineteen
examples are given of magical practices by the author in elder
times. Amongst the most notable are Rune Divination, Sorcery,
Amulets, Love potions, Galdor Incantation, Healing, Dreamwork and
Herbalism. A referencing to all the works quoted is found at the end
of Chapter One.
Chapter
Two
Chapter Two is entitled Learning to See. The author demonstrates the use of the imagination faculty
within all of us to create a thought form. This creative thought
ability in many cases is not exercised enough by many and he argues
that if you do not use it, you loose it.
He likens training the imagination, to training your motor
skills functions. The more you train, the better you get at it he explains.
This is sound both in fact and practice for it is practice
that makes us better at most skills including mental/spiritual
functions. You may hear some folks argue on the validity of
visualisation techniques being a product of the New Age and not
Northern Tradition. I
beg to differ and remind the reader that many of the esoteric
concepts rediscovered or redefined today have been given words not
used by our ancestors, but in essence is the same practice.
The origin in my opinion of visualisation techniques lies with Hinduism
and Buddhism, a teaching from the East which was heavily borrowed by
Western Occultism, adapted within the Theosophy Society during the
early 1900s to become a standard tool of meditation within the
Spiritualist movement today. Furthermore
the early Indo Europeans are believed to have broken into two main groups.
The European and the Asiatic variant taking all their beliefs
and philosophies with them The
author gives an introduction to using the imagination concept
followed by exercises in Imagery, Form, Form and Texture, Smell and
Taste and finally Creating a Harrow.
I view the final exercise as a very important one as you must
have a safe and peaceful place (frithgarth) to do your seiğr work.
As moderns it is more practical to have a working harrow
indoors, away from the cold weather as well as for privacy but you
can have other harrows especially dedicated to a particular god or
Wight depending on your personal faith and who you work with best.
Chapter
Three
Chapter Three explains Ond, the life force of the Universe. The word
önd
appears in an Anglo-Saxon rite found in a manuscript called
the
Lacnunga. Ond şás eorğan (and
that of the earth). Ond in this instance is translated as “and”. In Old Norse and Icelandic however the original word for önd
is breathe, authors like Edred Thorsson suggests Vital Breathe. The
process of breathing is universally recognized as a sign that life
is present; it would not be too hard to see why önd is synonymous
with the life energy force. Here
RJ breaks down Ond into three main directional energy flow sources,
heavenly önd, terrestrial önd and finally chthonic önd that lies
deep within the earth. It is this particular chthonic önd energy
that fascinates me rising from the Germanic netherworlds, the roots
of Yggdrasil. Many seiğr
worker’s I used to know tap into this force in particular walking
the road of helheim. Arguments
also exist against using this method of using the road to helheim
whilst other adheres rigidly to it.
My view is that if it works and works well, don’t knock it
but what works for me does not necessarily work for you?
On
a personal note, in my view it is irrelevant where you source your
universal energy flow from as long as the source flow is balanced
and you can source it effectively.
The author uses the analogy of “coloured” önd to
describe the energy feel of a particular person or place.
Others may address this as “good vibrations” or “bad
vibrations”, dependant on the sensitivity and reliability of the
seer. He points out two
kinds of önd streams. The
first he calls the evolution stream and the second the dissolution
stream.
Negative
and positive earth energy fields as experienced on so called ley
lines are known about although there exists varying views as to
their purpose. I have
heard these energy streams also describe as dragon and serpent lines
depending on your point of view.
I agree with RJ’s argument that it is important for a seiğr practitioner to
be able to identify evolution streams from dissolution streams and
to manipulate those streams where possible to bring about a desired
effect.
Power
points, the author states are a particular localized area where
there is a concentration of önd or energy force.
If you consider that there are 9 Germanic worlds, Yggdrasil
or the World Tree could be considered to run along the önd energy
streams as it is said to touch all the nine worlds also.
Therefore it is logical to conclude that different points of
the planet will exhibit different önd energy streams and that these
streams be a manifestation of one of the nine worlds.
Nine examples are given where önd streams could be found.
These include stunted hedges, fruit trees, insects, rubbish &
rubble, thistles neetles & docks, birds, moss & mushrooms,
grass and finally water. In
other words, you require acute powers of observation in nature to
get good at spotting and resourcing önd potential.
All the shamans I personally knew or met were observers of
nature without exception.
Two
practical exercises are shown in the last part of this chapter. I found the Ondic Rubbish Dump a good and practical exercise
that works well. Here
the author introduces the use of stödhurs or rune stance.
These techniques of rune postures (stádhagaldr) I have
personally experienced and can tell you that they are both very
effective and powerful for drawing energy streams. It is claimed
that the system of runic yoga by earlier German runemasters (F.B
Marby, S.A. Krummer, and Karl Spiesberger) developed as a means of
harnessing the streams of power present in the earth and atmosphere.
This tradition probably stems from WW1 practices and beliefs
of the German Arrmanen Order, a runic society founded in 1912 based
on the ideas of Guido Von List and his followers. I personally
believe rune postures came out from folk tradition survivalism
passed down through the decades via oral tradition from what was
known as rune dance.
Stav
is a relatively new Northern martial art, incorporating elements of
seiğr /spœ claiming its origins from oral traditions and uses rune
postures of the Younger Futhark.
So whilst I disagree with the Armenen origins of stödhurs, I
believe rune posture exercises existed from a much earlier period in
tradition. This
exercise, the Ondic Rubbish Dump is to get the student to locate and
work with a natural source of dissolution energy and to use such a
site to remove from your being all negative and dissolution energy.
Chapter
Four
The Nine worlds of Yggdrasil is presented by the author in a graphic
sense drawing on Yggdrasil as the map of reality within Germanic
cosmology that our kinfolk have walked upon since they were
fashioned and created upon the shores of Midgard (Middle Enclosure).
Of note is his referencing of Yggdrasil as a Yew Tree though
this is not entirely new but in contradiction to Snorri’s Voluspa 19
“An ash I know, Yggdrasil its name”.
However he makes the
connection that Yggdrasil means the steed of Ygg (means terrible but
also is another name for Odin) who the myths tells us is somewhat of
a mighty sorcerer and hung himself on Yggdrasil to discover the
wisdom of the runes.
This hanging for nine nights is viewed by many including
myself as a very shamanic practise for vision question. The author
further uses the argument that Yew trees in ancient times are
believed to have accounted for at least 80 percent of the Northern
European forests before the onset of de-forestation.
Taxus
baccata is also known as 'the English Yew was at one time much more
common and widespread in Europe and has been a dominant forest
species in Europe in our distant past.
He
also states that Yew was the traditional wood used for making
longbows, rune tines and gandr or runic wand.
At this point, he goes very in depth into the psyche of
Germanic consciousness. A
flow chart is used representing in my opinion what appears to be a
kabalistic variant of the nine worlds.
It is an attempt to put over an intellectual framework of
where we can fit the worlds in our mind’s view.
I have no problems with following the logic of his arguments
and can relate well to why for instance RJ says Asgard can be
regarded as the highest level of consciousness. RJ allocates a further nine levels to Helheim. They are the
realm of New Dead, Learning, Rebirth, Stars, Everlasting Promise,
Shadows, Elder Ancestors, Ancestral Memories and Ancestral Mist. I particular like his analogy of the Ream of Stars where he
states that this is a place of still contentment and just being.
I believe this would be an important place to visit if a seiğrman or seiğrwoman
wishes to truly know about themselves.
Mimir’s
Well is identified as a source to gain access to memories contained
with the well. This can be done he says by looking directly into the
realm of ancestral memories or by directly entering the source of
the waters itself. RJ suggests that by drinking the waters from this well, we
can reawaken memories that lie dormant within each and every one of
us.
Chapter
Five
Chapter Five covers a Word on warding.
RJ puts to rest the Judeo Christian beliefs so ingrained in
many folks that this journeying to the netherworlds will be met with
demonic retribution or pain from Satan, where hell fire or brimstone
is the norm and that such notions have no basis in the reality of
the Northern Worldview. He
assures the reader that he has never met up with Satan in the many
years of his journeying, a provoking thought I find puts a smile on
my face. He argues that
the choice to journey is ultimately up to you but he cautions you on
meeting energies or beings in this world that are “different”
from what we understand based on 21st century mind
reasoning.
This chapter puts the FEAR element into perspective with the realisation
that not everything you find whilst journeying is nice or pleasant
and that there are beings out there that at first may seem unnatural
or even a little frightening. Don’t
be surprised if you find yourself at the later stages being
“cooked” and recycled he urges.
I am glad to see that he explains thought forms which he
likens to other people’s dirty washing and why they are out there.
He introduces the magic circle, a kind of magical barrier
that the novice should prepare beforehand and certainly before
journeying into the unknown. RJ
suggests barrier alternatives also such as using a circle of salt,
cord, sphere of mirrors, sphere of iron, galdrar of flames, physical
construct hazel circle. My
choice would be the physical hazel poles circle but not because it
has a better power to protect, but because it is traditional and
seiğr
was worked out of doors
in elder times. A full
rite of protection is finally listed at the end.
Chapter Six
Chapter Six looks at Learning to Walk.
The author explains that the physical manifestations we call
this reality are as real as those we meet on our journeying.
If you have a problem equating the plain of existence in this
World to that of the worlds you journey to, then he suggests that
you put all your beliefs of this world “on hold” so to speak
whilst pretending your experiences on the alternate world’s are
true. I know this as
“Fake it, till you make it” in my days with
seiğr
so I agree with the author on this point. He urges the student to suspend belief at the start and allow
things to form their own patterns or shapes rather then to impose a
pre-conceived notion into the journey.
At some point, this journey into the other realms will form
their own shape without any assistance from the student but he also
makes the student aware of a veil of illusion which is where the
imagination interferes with the purpose of your journey and it is as
important to distinguish what is a journey from that which is
imagination.
RJ makes the distinctions between the many levels of trance states we
find ourselves in daily without even realising it, many of which he
points out we do as routine. I
like his argument that we all work at the intuitive level many times
throughout mundane living but take it for granted.
There are likewise many levels of awareness and I can relate
to all what the author identifies with in this chapter.
I agree 100 percent with the author that
seiğr
was passed on by word
of mouth from master to apprentice and the many so called
“platform magic” groups claiming privy or exclusive knowledge to
this craft as a solely feminine/homosexual Ergi practise or whatever
should take heed. In fact the most highly honoured of the Scrythian
shamans came from specific families. They were effeminate males
called 'enarees' which means 'men-women' or 'halfmen'. They spoke
with high pitched voices and wore women's clothes. This Ergi
argument is of Christian connotation that is being chucked around in
the United States.
Ref:
www.silk-road.com/artl/scythian.shtml
RJ informs the student that there are many techniques available to
achieve trance states or altered consciousness, some are considered
dangerous. He gives a
clear indication of how not to achieve trance.
Drugs, food abstinence, sleep and water deprivation, extreme
solitude and extreme pain he writes are not necessary to work
trance. He strongly
advises the student not to work with dangerous plants unless you are
a working shaman and traditionally trained in their ways.
In my experience with magic, a great temptation is to use
drugs as a shortcut to alternate realities and it is good to see RJ
put the record straight on its inappropriate usage.
However, the two mediums he does recommend to achieve trance states are
the use of sound and motion. The sound medium is by the use of
drumming techniques, a technique I am familiar with and can attest
to it credibility as a damn effective tool in attaining altered
consciousness. From an
Eddaic historical point of view, I am not aware of any drum usage in
the traditions of the North and RJ concurs in his book the same
message but that doe not mean that none existed.
We must remember that the tradition has come to us today in
fragmented form, in many cases we are dealing with the unknown.
He then talks about his close relationship with his drums and gives good
advise on what drums might suit the student best. The author also states also that the cyclic rhythm of drum
beatings for seiğr should be approximately 2-3 beats per second.
I agree with this because the oral traditions in Germany use
approximately 180 beats per minute to achieve trance states in seiğr.
RJ speaks well also on the use of a rattle.
Elkheart, a Dutch practising shaman who uses sound
extensively in his healings was a former student of the late Sunbear.
Elkheart told me that the spirits do not understand language
per see as we speak it, so he argued that chants or instruments are
used to entice such energies.
Sound
has powerful effects on the body, the brain and the mind, and the
sounds made by rattles are said by native peoples around the world
to attract the attention of helpful spirits.
I
can see clearly why RJ incorporates rattles in his seiğr
work. A bonus of this
particular instrument to communicate with the spirits is its ease of
carrying being very portable when using motion techniques such as
dancing to achieve trance like states.
Of note also is that during the earlier re-constructions of
Platform based Spæ work that I experienced during the early 90s,
ward songs (varğlokkur) were used. These were re-constructed chants
likely intended to attract the spirits to the “horse” (one who
is to be ridden or possessed by the gods). I believe this is still practiced today.
Ref: Cleasby-Vigfusson, An
Icelandic-English Dictionary, 1962 edition
In
the Saga, Thorbjorg after the song Varğlokkur
was chanted even stated that "many spirits were
drawn there" (Gwyn Jones translation). This statement and
linguistic evidence show that the invitation of spirits and not the
spirit journey may have been the standard way of performing spæ in
ancient times.
Of
the journey itself RJ gives very sound advice throughout and likens
“learning to walk” to that of a child walking for the first
time. The author
differentiates between guided meditations and seiğr
journeys stating that the only similarity is the use of the
imagination.
This
aspect of seiğr many folks do confuse with guided meditations,
thinking them one and the same.
He also points out that the concept of time as we understand
it will be different when practicing seiğr I
feel his hearts thoughts when he exclaims that he is born “out of
his time” and puts across a strong argument as to why the spirits
explain thing to us in a manner we will understand by today’s
values. To become good
at seiğr, RJ advises the student to familiarize themselves with
Elder Ways as far as is possible within the context of available
resources. Know your lore in other words and this is a very important aspect
of the practice, for the gods, goddesses, wights all revolve around
this craft as it was practiced
during
Elder times. Exercises include At the Foot of Yggdrasil, Journey to
our Frithgarth and Seething Magic.
The author makes a connection to modern disco dancing to that
of the shamans of old. He further argues that shape shifting is also
associated with experienced through shamanic dance.
Chapter
Seven
Chapter seven is about the Aspects of the Self to which the author
identifies as the mind, body and soul.
The Lich refers to the physical (earthly) body whilst the
Hawmr,
the astral body or Hide, shape (of soul);
normally shaped like lich, but can be changed.
The concept of “shapeshifting” is explained using the
form, usually an animal of another living being.
I agree with him that the most effective forms of
shapeshifting occur unplanned, almost as if was the will of the gods
and not your own input.
Runic
John list two exercises which will help you familiarize yourself
with your Hawmr for he say this has always been with you and will
stay with you until your departure from this life.
Shapeshifting exercises include Becoming the Earth and
Becoming a Tree.
There
are further exercises to focus your mind on the Aethm or breathe,
followed by exercises Ondic breathing and the Body breathe.
An explanation
of the Fetch or Flygja is given and RJ makes the point that the
Flygja is not to be confused with a power animal and it actually a
part of who you are although it seems to have a life of its own. A
Journey to meet your Flygja exercise is followed by a Dancing your
Flygja exercise. The
author then introduces the KinFlygja whose apt title is self
explanatory.
Being the Flygja of your kindred or family line, RJ makes the assertion
that the Kinflygja represents the animal nature of your entire
family line. A journey
exercise to meet your Kinflygja follows after which he introduces
the Valkyrie aspect. Here
he suggests that the Valkyrie from a
seiğr
point of view is the higher self of the individual.
This is one point on which I disagree with, seeing the
Valkyries as separate beings who are the daughters of Odin that
collect the fallen slain on the battlefield known as the Einherir.
Chapter
Eight
Chapter Eight covers the Wheels of Might or Hweols of Maegen. I tend to
approach the eastern teachings of charkas cautiously when making
associations with Northern Traditions towards these power centres. It has already been argued earlier in this write up that the
Indo Europeans were split into two factions and RJ makes the
assertion that Hwoels and charkas perform in a similar manner. Five
bodily Hwoels are listed and a diagram is given using runic
representations for each of these Hwoels.
They are the Fot Hwoel, Hype Hwoel, Midgard Hwoel, Heorte
Hwoel and finally the Hafela Hwoel. Four more exercises are given starting with Becoming the
World, Galdror and the Hwoels, To hang on the World Tree and The
Fountain Working.
Chapter
Nine
Chapter Nine gives a listing on the Aesir and the Vanir.
This is a very relevant chapter especially so for the
beginner. Of importance
is the fact that building up a good strong relationship with the
gods is paramount to your working
seiğr
effectively for as the author suggests, you may need to call on them
for help or guidance even. The author gives
the names and attributes of many of the gods we collectively call
the Tiwar that comprises of both Aesir and Vanir gods and goddesses. Who best knows the lay of the Nine Worlds then Odin for
instance?
Chapter
Ten
Chapter Ten covers Wights and Gheists.
The author informs the reader that in
seiğr
journeys, they are bound to encounter all types of beings, some
known whilst others unknown. These
beings will tend to be either of a friendly disposition or hostile
towards the journeyman. He
cautions that the walking dead, known as the Draugr are often
malevolent and not helpful to the seiğr
practitioner. I love
his analogy of Haitian Voodoo and the Zombie myth to how a Draugr
may have come into being as a physical manifestation.
RJ then moves on to Giants, House Ghosts, Landwights, Light
Elves (Ljossalfar) and finally the Black Elves (Svartafalar) The
word "alf" may stem from a root meaning "white",
with the various suggestions of "gleaming" (AS Ælfbeorht
- "alf-bright" and adjective ælfsciene -
"beautiful as an alf"),
Middle
English, from Old English ælf..
Chapter
Eleven
Chapter Eleven covers the Wyrd Norns.
The author states that Wyrd (means fate) is not viewed from
the Northern perspective as definite or unmoveable.
The author uses the story of a WW2 sniper having time out
from his sniper training to see a girlfriend rather then hone on his
shooting skills. This lack of shooting practice he argues may have
caused him to miss his mark and not kill your grandfather.
Hence all actions of the past have a corresponding influence
on the future. Had the
WW2 sniper trained more, he may have hit his mark, your grandfather
would have been lying dead on the beaches of Normandy and you would
not have been born. I
warm very much to this thought as by co-incidence, my father was on
the beaches of Normandy on what was known as D Day and a snipers
bullet hit him in the rear dropping him to the ground.
What saved his life was an item he had picked up as a war
souvenir and put in his back pack, which stopped the bullet. Very
Wyrd indeed.
This is a challenging and difficult area to tackle as in my opinion, the
modern
Western culture has absorbed the threefold Greco-Roman concept of
time as "past" (that which has gone before),
"present" (that which is), and "future" (that
which will be). It is
easy to associate these concepts with the three Norns Urdhr,
Verdhandi, and Skuld. It is also incorrect. The Germanic time-sense
is not three-fold, but two-fold: time is divided into
"that-which-is," a concept encompassing everything that
has ever happened--not as a linear progression, but as a unity of
interwoven layers—and "that-which-is-becoming," the
active changing of the present as it grows from the patterns set in
that-which-is. That-which-is is the Germanic "world," a
word literally cognate to the Norse ver-old, "age of a
man."
I
agree with his ideas that “accidents” or random happenings
within Wyrd can have a huge impact on our present.
The web of Wyrd the author likens to a spider spinning an
infinite web, putting layer upon layer on Wyrd.
Orlog the author cites as the first layer of events in our
life. 'LOG', derived
from Old Norwegian Lagu, means 'law', 'Or-Log' means something along
the lines of First Law, Primal Law, and Ultimate Law.
Also, it could be seen as First Principle or Primal Layer.
Chapter
Twelve
Chapter Twelve covers the Spirit Helpers Or Gast Helpen.
The authors advises the more helpers you have, the stronger
you are. He informs the
reader that there are animal helpers and suggests that during an
earlier period of human evolution, human beings lived much closer to
animals. This closer
proximity of animals to man would have also made the ties or links
between them much closer. Interestingly,
RJ also says that these helpers need not necessarily be animals.
They could be something of unknown species or even an insect.
An exercise is then given called Journey to find an Animal
Helper. Two other
exercises are given called Journey to Ljossalheim (Home of the Light
Elves) and Journey to Helheim (Hel Home).
Chapter
Thirteen
Chapter
Thirteen introduces Leechcrææft or The Craft of the Healer. The author states that Leechcrææft was an integral part of
the seiğrman’s or seiğrwoman’s art of old for they were the
midwives, doctors or surgeons
of their tribes. Whether
you agree with leechcraeft or not he says the art of healing will
cross your path when you start
your own personal development
within seiğr. I agree with the author on this from a personal point of view
as a great deal of shamanism involves healing crafts. The Wölwas of elder times took some 20 years plus to learn
all there was to learn about healing arts and therefore I concur
wuth RJ’s sentiment that this art of healing took a goodly time to
master. The author
shares two main techniques he had
learnt whilst on the path of seiğr.
He says that the Spirit Extraction and the Soul Retrieval are
the two major healing techniques that he learnt from his spirit
teachers and these two he employs in his seiğr healing practices.
I
find his associations with animals which appear to the author as a
representation of the patient’s illness very interesting and
indeed a most unique perspective. I would point out however that this may take on other forms
of perceptions and that not everyone in my experience can actually
visualize with clarity. The
author also emphasizes the importance of clear communication with
the person you intend to heal so that they are fully aware at all
times what you are going to do.
Soul retrieval is also an interesting aspect that the author
discusses but he cautions the reader that this area is better
explored or practiced after gaining more experience with journeying.
Exercises are given for Drawing down energy from Asgard, the
Healing Sphere and Healing the Hwoels after which Cleansing and
Grounding are discussed.
Chapter
Fourteen
Chapter
Fourteen discusses Spæ or Oracular Seiğr.
The author says that at it most basic level, this rite
involves the seer journeying into the otherworld on behalf of those
involved in the rite. It
is hoped that a question can then be pose to one of the inner World
beings and then hopefully proceed to answer the question given to
them. A high chair is
involved and this notion is adapted from accounts of the Wölwa
Thorbjorg. This
practice is basically re-constructionist in nature and based on
Diana Paxson’s Hrafnar, a San Francisco Spæ group based in the
United States. I will caution the would be Spæ student that this form of
working is more dangerous from a point of view of poor psychic
hygiene with a high risk of psychic “burn-outs” and very often,
a lack of suitability in the selection of trance possession mediums or “horse” as they are known.
I strongly advise you seek out an experienced personal
teacher like Runic John on a one to one basis, getting a good
grounding on self protection and Northern lore before embarking on
Spæ workings. Another
difficulty is getting suitable Spæ singers as was believed existed
in tradition but I concur with the author that a drum is a suitable
substitute to Spæ singers. The
author then gives account of his Spæ Rite.
Chapter
Fifteen
Chapter
Fifteen looks at Ritual Attire and Magical Tools.
The author discusses the relevance of magical attire and why
it is better to use or incorporate their use in seiğr. Now I have got into so many arguments with modern Asatru
folks who say that Norse costume, staffs, gandrs or scrammaseauxs or
indeed magical aids are not necessary and that my thinking is
backward as I have not “evolved” with the times? They on the
other hand have, with their designer “I love Odin” Tee shirts
and Levi jeans at their blots?
The usual argument is, “I am true to my gods and do not
need costumes etc”. Well
I am a traditionalist, so I costume but like all traditionalists
also true to the gods, so I fail to see relevance in this argument?
The
author agues that what can often begin in life as a simple cloak may
over a period of time grow in symbolic content, magical power and
ritual significance. The
longer you have practiced in seiğr, the more connections of power
you will make and the symbolic decoration of both your ritual tools
and clothes will grow. What
is missed he argues is that there is a much deeper and hidden power
that is derived from the specific use of ritual clothes set aside
specifically for your seiğr work.
They say that clothes maketh the man and whether we realise
it or not, the clothes we wear has a significant influence on both
our mental and emotional state as well as influencing those around
us. The author tells
the reader that in his case; fortunately his partner is a talented
dressmaker. His magical
attire consists of a traditionally embroidered tunic with runes
around the cuffs, a thick leather belt, a cloak and a Hammer of Thor
pendant. He states that wearing the hammer shows pride in being a
heathen and I could not agree more.
Head gear is also suggested as well as a staff, gandr and a
seax type ritual knife, perhaps etched in suitable runes on the
hilt. A drinking horn
in my view is an absolute must.
On a final note the author tells the reader that seiğr is a
practical art and that the only true way to know about seiğr is to
experience it by crossing over.
My opinion on this is:
Do
you want to live forever? As the author rightly says, “We are seiğr
folk, we do not believe, we know!”
In
Conclusion
Overall I found this book to be an easy going book to follow with many
original and strong ideas or arguments which make it both unique and
a boon to any would be student of
seiğr.
Of note is the fact that seiğr practices are not restricted
to the sole privy of modern re-constructionist female seidkonas,
homosexuals or any exclusive organization clinging to the Ergi
argument and that is how it should be. External
elements are present in this book but I do not see this as a
problem. That having
been said there are some terminologies which I found could be
misunderstood by a total novice.
The term Xtian (Christian) may be very confusing to a student
from a non pagan background and a glossary of Northern Tradition
terms would have been otherwise a great asset to novices who read
this book. I admire
however the thinking through of all his ideas into a workable format
for today’s modern seiğr
work. This is a busy book of experiencing the journey and not
reading about what someone else has done.
I fear that the bookworm will not get the best from what this
book offers. If this book is targeted at the Northern Tradition
Asatru market, I feel it has more then adequately fulfilled that
requirement and I look forward to other books in the series from
this author.
Runic John can be reached at:
RUNICJOHN@HOTMAIL.COM
Rating:
****
Music from John Richardson Drums of a Nation
Quick Links:
[
Book of Seidr
]
[
About me ]
[ Asatru &
Heathenry ] [
Links ] [
Freyja Runes Seidr
] [
Sabine the
Wolwa ]
[
Little
Bones Women ] [
Pierced by the light
] [
Rorik's
Column ] [
Rune Lore ] [
Rune
Origins ]
[
Rune Poems
] [
Rune Scholars
] [
Rune FAQ
]
[ Guido
von List ]
[
Poetry ]
[
Viking Age
Costumes
]
[
View Comments ]
[
My Reviews ]
[
Modern Myths
] [
Controversies
] [
Book Hoard
]
[
Book
Reviews ] [
Norse Mythology ]
[
HE Davidson ] [
Lotte Motz ]
[
NA Runestones ]
[
Your
Articles
]
 |
