Patreon Topic 19: On Seiðr

If you want to submit a topic you would like me to write on for this blog or my Patreon, sign up for the Uruz or Thurisaz level or above here on my Patreon.

From Elfwort comes this topic:

“Would it be possible for you to discuss seidr work in some depth?”

I will. Before I get started a few things need to be acknowledged up front. Seiðr is a lot of things to a lot of people. This website provides a good very basic overview on it. I also recommend reading my overview post on seiðr here.

When I write about seiðr I am specifically writing about the working with spirits to achieve an end even when establishing communication and retrieving information is involved. Spá is working with spirits to make prophecies, establish communication, or retrieve information. I differentiate seiðr from spá, while some use the terms interchangeably or as close to one another. While it could be said that a seiðkona could also be a spákona, I like to keep terms as neat and tidy as I can. The big difference, as I see it, is the purpose. In doing a seiðr working you are seeking to cause some kind of change, whereas with a spá working you are seeking to see what is there or to prophesy.

When it comes to seiðr I cannot speak about seiðr work in depth as Hrafnar does it. In my experiences with their oracular seiðr, it strikes me as being spá, since the work is about getting information from the Gods, Ancestors, and/or vaettir and to those gathered for the work. I also cannot speak to how others do it. Most folks who do seiðr and spá take inspiration from The Saga of Erik the Red, or Eirík’s saga rauða and the few scant references to it in the lore.

The majority of my experience in seiðr and spá is being told by Óðinn I was going to study it from Freyja. Her instructions were very clear and to the point. It started with my usual regimen of cleansing, grounding, centering, shielding, and then warding the space. Describing the work itself is simple: I start by breathing deep, rocking, and shaking. Once in trance, I call to the spirit or group of spirits I am to work with. They are to come to me, or come into me, as is needed for the working. Once done they depart, and I do cleansing, grounding, centering, and shield work to be sure I was clear of spirits and then the space was clear prior to taking down the wards.

In going back and rereading my experiences and looking around online, what I learned from Freyja was more in line with the interpretation of Jan Fries’ understanding in the book Seidways, which I have only recently run into since writing this post. I would have to read the book to see where what Fries’ understanding and practice of seiðr and spá is.

What does it feel like, engaging in seiðr and spá?

It is a spirit sliding into you, not unlike in The Matrix or Shadowrun where a person is jacked in, a feeling of sliding into the base of your skull and a click, or some other sensation that lets you know the seiðr or spá has taken hold. One moment you are trancing to the beat of a drum, a song, and/or the rhythm of your own breath and heart. I usually do this work with my eyes shut or under a cloak or hat.

The next moment, a new consciousness joins you in the dark. Maybe it is a voice, a scent, a taste in the air, a touch, or a knowing. Whatever it is, it is outside you, definitely not you, and in this space between with you. Assuming this vaettr (spirit) is not one of your fylgja, kinfylgja, Ancestors, and other vaettir (spirits) that you trust and are with you, you ask if the vaettr that has joined you is legit, both that it is a vaettr and that it is who it says it is. Maybe you get confirmation from Them, maybe They turn hostile and eject the vaettr. Maybe you have to do divination so you are not just relying on your own experience and intuition, so you take a moment in this space to pluck or throw a Rune, or draw a card.

Working with the Runevaettir before, during, and after the seiðr or spá through galdr or other spiritwork, putting Them on your body, or through asking Them to help through a reading, can be a powerful ballast. Provided you have done right by Them, the Runevaettir can help provide clarity or power in a working that your Ancestors, fylgja, etc may not be able to. So much of seiðr and spá work is dependent on the reason you are doing the work. It depends on what you are looking to do, or to bring back knowledge on. It can also depend on Who you ask the question. Given I have seen and experienced Gods in seiðr and spá work, it is entirely possible They can come into the session whether you ask Them or They come on Their own.

For however long the work needs to be done, I am often engaging in some kind of rocking motion alongside regular breath patterns, often in groups of three, six, or nine. I generally will lose my sense of time. Timing is often a fruitless endeavor for me. It takes however long it takes to do the work. It can feel like I have been gone mere moments, or for days, depending on the working.

For anyone who has received divination from me, you have likely seen me do this spá work. When I learned how to do seiðr and spá from Freyja I incorporated this into my divination work. It stayed as I developed my divination protocols.

There is only so far in depth I can really get until we hit the wall of experience.

The way to learn how to do seiðr or spá is to do it.

For Kuro

It feels like we just met

Seventeen years ago

I insisted I did not like cats

You didn’t seem to care about that

You wrapped your paws around my neck

Buried your face in mine

You became my boy that day

 

You were quiet at first, often hiding

Your brother, Aoshi, the loud one, the outgoing one

You so gentle and soft, quiet and affectionate

When he died all that changed

 

You were there, we made sure of it

You cuddled with him a bit, not quite knowing

Soon it dawned when we went home

and he stayed behind

 

You understood soon enough

Then something amazing happened

You came out, were loud, and demanded attention

You had taken your brother’s place

 

My sweet boy

You crawled into laps and curled into chests

You whined loud enough to wake the dead at mealtime

You purred so loud I could feel it when we cuddled

 

Weeks have passed since we saw each other

This damn isolation

You recognized me on the screen when I called

Purred and nuzzled the screen

 

Your Mom called me

You had taken a turn for the worst

Despite good food, medicine, and care

Nothing else could be done

 

I ran home, up the stairs

So small, so tired

You stared at me with your beautiful green eyes

You held on for me

 

O my sweet boy

I held you and I know you knew

I heard your gasping meow

I felt your sweet, slow heart

 

It ripped at me to see you like this

Yet blessed too

You held on for me

So I could hold you

 

We prayed, all of us, your Mom and I

To Freyja, to Bast, to Sekhmet, to Hela

That your death was as painless as could be

That it was quick

That your brother walked with you at the end

That you know we love you

 

An hour later the call came through

You were dead, your pain at an end

My eyes filled with tears

My heart with sorrow, prayers answered

 

I ache that this was the first time I saw you

In eight weeks

But blessed to see you

Before you had to go

 

Rest well my sweet boy

Rest and know we hear you

Walk with your brother and Ancestors

Visit us when you can

I love you, Kuro

Patreon Topic 9: On Seiðr

If you want to submit a topic you would like me to write on for this blog or my Patreon, sign up for the Uruz or Thurisaz level or above here on my Patreon.

From my third Raiðo supporter comes this topic:

“The distinguishing characteristics of *authentic* seiðr, from your perspective and from the perspective of the medieval sources (as relevant).”

When we’re talking about authentic I think getting to what is vs is not authentic is worth taking some time to define.

When it comes to authentic seiðr I care far less about what may be historically authentic comparative to what is authentic to the requirements of our Gods, Ancestors, vaettir, religions, and communities now. This is not to say historically authentic seiðr is something to brush off, but I recognize that we have a handful of sources and one detailed account of what seiðr looked like at one point in time, and conjecture in a handful of other sections. Further, it can be argued in one instance we see, in Eiríks saga rauða (The Saga of Erik the Red), what we are seeing is a spá rite rather than a seiðr rite. Our map of seiðr, like a lot of what we have available to us, is far less complete than ideal.

This comes to how we define terms in the modern age vs how they may have been divided (or not) in the past. Because I like discrete categories for explanation and for looking at things, I put seiðr and spá into two separate categories. Generally, the way I tend to divide the categories is to the purpose of the rite. If the point is only to contact the spirits for divination, it is a spá rite. If divination is involved but the point is to affect change on a spiritual/magical level, it is a seiðr rite.

I likewise will use descriptions for the people performing the magic. If a person’s primary training and involvement in a ritual is for divination/transmission of spiritual messages with the calling in of spirits, it is a spákona (prophecy woman), spámaðr (prophecy man/human). If a person’s primary training and involvement in a ritual is for affecting Urðr/Wyrd then it would be seiðkona (magic/spell/enchantment woman) or seiðmaðr (magic/spell/enchantment man/human). A prophetess then would be a völva. As I usually use the term a völva can do both even she specializes in one or the other.

How I separate seiðr from other forms of magic, eg sympathetic magic, is that seiðr requires the use of óðr, frenzy, both in the sense of the furious rocking back and forth and/or other forms of ecstatic trance, and the working with of the soul part of the same name. It is spellwork that affects the flow/weaving of Urðr primarily through the use of óðr and other techinques and soul parts as needed. Now, that is not to say that you cannot blend seiðr with sympathetic magic, or other works as you need, are called to, etc. You might find blending magic work to be effective. Given each person engaging in seiðr is doing so in a modern context I would hardly be surprised to find a wide variety of seiðr practices.

All of this is to say that how I define ‘authentic’ may run completely contrary to how another Heathen or Northern Tradition Pagan may define it. Since my definitions and ideas of how seiðr is conducted take from the medieval sources we have, I would say that my understanding of authentic is not counter to them, but inclusive of them. This holds with how I treat much of the surviving material. None of what we have was meant as religious instruction and none of what we have is primary source. All is secondary sourcing, and most of that buried behind Christian or Christian-biased writing on the subject.

Authentic seiðr, like any modern Heathen practice, is what schews as close to our Heathen sources, and moreover, what works. We know in the sources that she sits in a high seat and that there is a vardlokkur, a ward song, held before the seiðr rite. What was this song? We are not told, and so, it may be the seiðkona needs to find her own vardlokkur and teach it to someone else to perform, or perform it herself prior to the rite.

What to wear? Thankfully, this is where The Saga of Erik the Red is a lot more explicit.

“Now, when she came in the evening, accompanied by the man who had been sent to meet her, she was dressed in such wise that she had a blue mantle over her, with strings for the neck, and it was inlaid with gems quite down to the skirt. On her neck she had glass beads. On her head she had a black hood of lambskin, lined with ermine. A staff she had in her hand, with a knob thereon; it was ornamented with brass, and inlaid with gems round about the knob. Around her she wore a girdle of soft hair, and therein was a large skin-bag, in which she kept the talismans needful to her in her wisdom. She wore hairy calf-skin shoes on her feet, with long and strong-looking thongs to them, and great knobs of latten at the ends. On her hands she had gloves of ermine-skin, and they were white and hairy within…

…She had a brazen spoon, and a knife with a handle of walrus-tusk, which was mounted with two rings of brass, and the point of it was broken off.”

Now, consider this in the modern age and that many of us are operating on shoe-string budgets and our communities even more so. I think most of the accoutremonts make sense for the time period, and that they were often patronized by the wealthy. A stripped down variation of this would be a blue head covering, or a blue hoody with a black hood. Some kind of necklace with glass beads. A brass-headed staff on the more expensive end (JoAnn Fabrics and hardware stores have pieces that could work here), a simple wooden staff on the other. Mind, I do not think a person needs to dress the part exactly to work with seiðr. It might help some folks to recreate the look of a seiðkona as accurately as possible. It might help others to just work with the suggestions here, or a good blindfold or a cloak to get a similar effect to get them in the seiðr headspace.

How to bring in the spirits? We only have a few hints at how seiðr was done, and these are sparse. We know the seiðkona sat on a highest seat and the spirits came in after the vardlokkur was sung. From my reading it is likely some kind of heavy trance was entered into, and something akin to mediumship work or channeling took place. I am not comfortable talking in depth on this in a modern context for a few reasons. First, is that my process was given to me by Freyja when Óðinn handed me to Her for instruction. Second, divulging how to do this without training brings a lot of risks and it would be fairly irresponsible of me just to outline what to do. Third, whatever I do write may not work for you -at all.

What matters is whether or not a given seiðr working is a success. Does it enable the seiðr worker to contact the Holy Powers they need to? Does it provide accurate, actionable information? Does the hamingja and megin of those engaged in it improve through its use? To my mind the reason seiðr survived so long as it did is because it worked. It is the same reason seiðr is seeing a revival now.

Patreon Poem/Prayer/Song 5 -For Freyja

If you want to submit a request for a prayer, poem, or song to be written to you privately or to be posted on this blog or my Patreon for a God, Ancestor, or spirit, sign up for the Ansuz and above level here on my Patreon. This prayer was requested from my first Ansuz patron for Freyja.

Rock, rock, rock

The body thrashes

The soul parts loosen

The eyes roll

The breath quickens

The body flushes

The oðr rises

The Way to Urðr opens

The rock, rock, rocking brings sensation

Thought unfolds from taste, touch, tongue, tempo, truesight, trained movements unfold tapestry

This is the way you showed me, O Holy One

To open up to embrace ergi and þver nature

To open the skull and body to regin, megin, vaettir

The pulse bounding in my veins

Yes, You whisper

This is the Way you seið

This is how you open your eyes and let your soul loose and your hands to work and hamr to fare

This is how you take up power and are taken up by power

O Holy Seiðmóðir!

O Holy Seiðkona!

O Holy Seiðregin!

It flows from ground through the body, spikes through the soul and out the mouth

It flows from the heart and rage and hope and love and whisper

It flows from the lips with incantations and wrath and words and hum and Rúnspiall

Then it is over, heat rushes through the lyke, hamr comes to rest, coals of oðr banked, vili empowered, megin increased

Your careful hands that took me on steady me

The power pools and readies for its use once more

I shake, not from the cold, but the lightest taste of Your Might

O Holy Lady!

Thank You for showing me one of Your Ways

For knowledge and power

Gebo is kept

Submissions to Odin’s Agon

For Óðrerir’s Brewer

You kindled in me a love for brewing
Water, honey, yeast
Sacred magic, old magic

Kvasir’s brood, your spit

Relaxing and maddening

Teasing out the ties
Inspiration strikes
Fury froths

Growling forth from each sip, each gulp

May each brew be a worthy working

Each bottle a sacred vessel

Each glass a welcome offering

Alliterative Poem to Odin

Wind and wound

Scream and spell

Health and harm

Scar and sense

Wrath and release

Power and purpose

Grey and gold

Eye and iron

Hanged and hale



Making Midgard


When the Sons of Borr took up the spear

No ravens flew or wolves roamed

Nifelheim was far too cold

Muspelheim far too hot

They dreamed of more than ice and mist, fire and smoke

A World teaming with life, with warmth and with cold

A World full of flowing waters and rain

A World between the the Worlds

So when They slew Ymir

The Sons of Borr took up the best of all Worlds to make Midgard

Fire from Muspelheim gifted by Surtr

Ice from Nifelheim taken from Ymir

Fertility from Vanaheim gifted by Freya, Freyr, and Njordr

Wildness from Jotunheim made by the Jotnar

Riches from Svartalfheim dug deep by the Dvergar

Liminality from Alfaheim made by the Alfar

Death from Helheim overseen by Hela

Potential from the Ginnungagap woven by the Nornir

Within the Middle Yard each World was woven to the others

Crafted with care by the Sons of Borr

Question 13: Frigg, Freyja, and Earth Goddesses

Thank you to Freki Ingela for this question:

Do you consider Frigg and Freyja to be one and the same great Earth Goddess (eg, Nerthus), or do you consider they are separate deities.

I consider Them to be separate Goddesses, and I do not consider either one a great Earth Goddess, either.  They have particular roles in Their families and tribe.  While etymologically we may be able to say They were one and the same at some point in the past, either They became two separate Goddesses or They were separate to begin with.

I really have no dog in this race.  While it would be interesting to know how the people that worshiped these Goddesses developed their language and understanding of these Goddesses, I worship Them as separate Goddesses.  I also consider Nerthus and Jörð separate Goddesses even though both are identified as Mother Earth Goddesses.

While I do believe syncretism has its place, unless I know for sure that a name is a heiti, or that this God or that Goddess actually is x  as well as y God/dess, I tend to treat the God, Goddess, Ancestor, or vaettir in question as a separate entity.  This approach is more cautious.  I would rather find out later that I have been giving a given God or Goddess more offerings than I thought I had than to find out I have been treating two Goddesses as one.