Seidr magic is a form of Norse magic that was practiced by the ancient Vikings. It is a type of shamanic magic that involves the use of trance-like states to communicate with the spirit world. The practitioners of seidr magic were known as seidkonur, which translates to "seeresses" or "witches." Seidr magic was primarily performed by women, although there were also male practitioners known as seidmenn. The seidkonur would enter into a trance state through various means, such as chanting, drumming, or sitting on a high seat. Once in a trance, they would be able to communicate with the gods, spirits, and ancestors, and gain insight and wisdom.
Seidr
Seidr (pronounced “SAY-der;” Old Norse seiðr, “cord, string, snare” [1] ) is a form of pre-Christian Norse magic and shamanism concerned with discerning the course of fate and working within its structure to bring about change, which was done by symbolically weaving new events into being. [2] To do this, the practitioner, with ritual distaff in hand, [3] entered an ecstatic trance in order to be able to interact with the world of spirit.
The practitioner’s intended task typically involved a prophecy, a blessing, or a curse. Archaeologist Neil Price has provided an excellent summary of the known uses of seidr:
There were seiðr rituals for divination and clairvoyance; for seeking out the hidden, both in the secrets of the mind and in physical locations; for healing the sick; for bringing good luck; for controlling the weather; for calling game animals and fish. Importantly, it could also be used for the opposite of these things – to curse an individual or an enterprise; to blight the land and make it barren; to induce illness; to tell false futures and thus to set their recipients on a road to disaster; to injure, maim and kill, in domestic disputes and especially in battle. [4]
The Norns seem to be the foremost masters of seidr, since they use weaving to establish the fate of all beings – surely an allusion to the techniques of seidr, given the highly magical task to which they put those techniques. Perhaps because of this connection, a practitioner of magic was sometimes called a norn (Old Norse for “witch”) with a lowercase “n.”
Two of the Aesir and Vanir deities are noted masters of seidr: the goddess Freya and the god Odin. Both Freya and Odin, in turn, can be seen as the divine models of seidr practitioners among their respective genders. Seidr was a highly gendered activity during the Viking Age, so this distinction is of prime importance.
Freya is the archetype of the völva, a professional or semiprofessional practitioner of seidr. It was she who first brought this art to the gods. [5]
The völva wandered from town to town and farm to farm performing commissioned acts of magic in exchange for room, board, and often other forms of compensation as well. The most detailed account of such a woman and her craft comes from The Saga of Erik the Red, [6] but numerous sagas, as well as some of the heroic poems (most notably the Völuspá, “The Insight of the Völva“) contain sparse accounts of seidr-workers and their practices.
Like other northern Eurasian shamans, the völva was “set apart” from her wider society, both in a positive and a negative sense – she was simultaneously exalted, sought-after, feared, and, in some instances, reviled. [7] However, the völva is very reminiscent of the veleda, a seeress or prophetess who held a more clearly-defined and highly respected position amongst the Germanic tribes of the first several centuries CE. [8] (The veleda was also modeled on a goddess who, over the course of the centuries, became Freyja.) In either of these roles, the woman practitioner of these arts held a more or less dignified role among her people, even as the degree of her dignity varied considerably over time.
On the other hand, the sources are clear that, according to the societal norms of the Viking Age, seidr wasn’t a fitting activity for men, to say the least. According to traditional Germanic gender constructs, it was extremely shameful and dishonorable for a man to adopt a female social or sexual role. A man who practiced seidr could expect to be labeled argr (Old Norse for “unmanly;” the noun form is ergi, “unmanliness”) by his peers – one of the gravest insults that could be hurled at a Norseman. [9] While there were probably several reasons for seidr being considered argr, the greatest seems to have been the centrality of weaving, the paragon of the traditional female economic sphere, in seidr. [10] Still, this didn’t stop numerous men from engaging in seidr, sometimes even as a profession. A few such men have had their deeds recorded in the sagas. The foremost among such seiðmenn was, of course, none other than Odin himself – and not even he escaped the charge of being argr. [11] [12] This taunt was nevertheless fraught with tense ambivalence; unmanly as seidr may have been seen as being, it was undeniably a source of incredible power – perhaps the greatest power in the cosmos, given that it could change the course of destiny itself. Perhaps the sacrifice of social prestige for these abilities wasn’t too bad of a bargain. After all, such men could look to the very ruler of Asgard as an example and a patron.
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References:
[1] Orel, Vladimir. 2003. A Handbook of Germanic Etymology. p. 312.
[2] Heide, Eldar. 2006. Spinning Seiðr. In Old Norse Religion in Long-Term Perspectives: Origins, Changes and Interactions. Edited by Anders Andrén, Kristina Jennbert, and Catharina Raudvere. p. 166.
[3] Ibid. p. 166-167.
[4] Price, Neil S. 2002. The Viking Way: Religion and War in Late Iron Age Scandinavia. p. 64.
[5] Snorri Sturluson. Ynglinga Saga 4. In Heimskringla: eða Sögur Noregs Konunga.
[6] Eiríks Saga Rauða 4.
[7] Price, Neil S. 2002. The Viking Way: Religion and War in Late Iron Age Scandinavia. p. 279-328.
[8] Enright, Michael J. 1996. Lady with a Mead Cup: Ritual, Prophecy and Lordship in the European Warband from La Tène to the Viking Age.
[9] Dubois, Thomas A. 1999. Nordic Religions in the Viking Age. p. 135-137.
[10] Heide, Eldar. 2006. Spinning Seiðr. In Old Norse Religion in Long-Term Perspectives: Origins, Changes and Interactions. Edited by Anders Andrén, Kristina Jennbert, and Catharina Raudvere. p. 167.
[11] Snorri Sturluson. Ynglinga Saga 7. In Heimskringla: eða Sögur Noregs Konunga.
[12] The Poetic Edda. Lokasenna 24.
Seiðr Magic
While Norse rune work is well known, there is another major ancient Norse magical practice: seiðr (pronounced “sayther”), a form of trance spirit work and divination. Although seiðr is often considered an ancient form of witchcraft, recent archaeological evidence suggests it is more closely related to shamanism.
In this practical guide to seiðr, Dean Kirkland, Ph.D., reconstructs the magical and shamanic techniques of the seiðr priest or priestess using the sagas and other literature from the Viking age, tools found in the archaeological record, and surviving indigenous shamanic traditions. He addresses the misconception that seiðr was a practice reserved only for women and shows how anyone called to this work would have been accepted in ancient Norse society. He discusses the tools of seiðr and how to create them, empower them, and care for them. He explores the use of protective songs (varðlokkur) that involve forming bonds with spirits, a practice he likens to the medicine songs of Amazonian shamans. He explains the techniques used to achieve trance in seiðr and how they are based on finding balance between the light and the darkness.
Looking at trance journeying in the Nine Realms of the Norse cosmos, the author discusses the different gods and spirits the seiðr practitioner may encounter in the Upper Realms, the Middle Worlds, and the Lower Realms. He shares exercises on the Wyrd, divination methods in seiðr, as well as ways to alter Ørlög, or fate, through spiritual work. Discussing soul-healing techniques in seiðr, the author looks in depth at the Norse shamanic practices of soul retrieval and reintegration of the soul parts. He then explores seiðr’s role in death, dying, and dealing with the dead, including work with the Valkries and the ancestors.
Presenting a historically based handbook for contemporary heathens, this book offers a practical path for anyone seeking to explore Norse trance magic and mysticism.
Once in a trance, they would be able to communicate with the gods, spirits, and ancestors, and gain insight and wisdom. Seidr magic was often used for divination, prophecy, and healing. The seidkonur would use their abilities to see into the future, predict the outcome of battles or events, and provide guidance and advice to those seeking their help.
About The Author
Dean Kirkland, Ph.D., has been a practicing reconstructionist heathen for more than 35 years. A goði, or spiritual/ritual specialist, to Three Castles Heathen Kindred located in the English Danelaw, he is also an associate of the Rune Gild and part of the ritual specialist team for Asatrú UK. He completed his shamanic apprenticeship with the Sacred Trust in Dorset UK and studied traditional Andean shamanism for several years with an indigenous paco. He lives in Lincolnshire, UK.
They would also use seidr to heal the sick and wounded, using their connection to the spirit world to channel energy and bring about healing. In addition to divination and healing, seidr magic was also used for more practical purposes. It was believed that through seidr, one could influence the elements, control weather, and manipulate fate. This made seidr magic highly sought after and respected among the Norse society. However, the practice of seidr magic was not without controversy. It was considered to be a form of witchcraft and was often associated with negative connotations. The seidkonur were seen as powerful and dangerous, and their abilities were sometimes feared and persecuted. Nevertheless, seidr magic continued to be practiced, and the seidkonur played an important role in Norse society as spiritual leaders and healers. Today, the practice of seidr magic has been revived by modern-day pagans and heathens. It is still seen as a powerful and respected form of magic, and the trance-like states and communication with the spirit world are seen as a means of connecting with the divine. The seidkonur are honored and celebrated as they continue to carry on the ancient tradition of seidr magic..
Reviews for "The Seidr Magic: Tapping into the Energies of the Land and the Elements"
1. Jane - 1 star
I found "Seidr Magic" to be incredibly boring and slow-paced. The story lacked any real depth or excitement. The characters were one-dimensional and I couldn't connect with any of them. The magic system was poorly explained and felt like an afterthought. Overall, I was very disappointed with this book and wouldn't recommend it to anyone looking for a thrilling fantasy read.
2. Mark - 2 stars
I had high hopes for "Seidr Magic" but it just didn't deliver. The plot felt disjointed and the pacing was all over the place. The world-building was shallow, leaving me with more questions than answers. The protagonist was unremarkable and didn't grow or develop throughout the story. While the concept of seidr magic was intriguing, the execution fell flat. Unfortunately, this book didn't live up to its potential.
3. Sarah - 1 star
"Seidr Magic" was a complete waste of time. The writing was amateurish and full of clichés. The dialogue was cheesy and unrealistic. The author seemed to rely heavily on info-dumping rather than showing any real storytelling skills. The romance elements felt forced and unnecessary. I honestly can't think of a single positive thing to say about this book. Save your money and skip this one.
4. Mike - 2 stars
I was hoping for a fresh and unique magic system in "Seidr Magic" but was sorely disappointed. The author didn't provide enough explanation or background for the seidr magic, leaving me confused and disconnected from the story. The characters were forgettable and lacked depth. The plot was predictable and lacked any real surprises. Overall, this book felt like a missed opportunity to explore a fascinating concept.
5. Emily - 1 star
"Seidr Magic" was a struggle to get through. The pacing was incredibly slow, and the story failed to capture my attention. The characters felt flat and uninteresting. The world-building was lacking in detail, making it difficult to imagine the settings. The lack of proper editing was evident with numerous grammatical errors and awkward sentences throughout the book. I would not recommend wasting your time on this poorly executed fantasy novel.