Norse witchcraft symbols hold great significance in the realms of ancient Nordic mythology and spirituality. These symbols, often known as runes, were used by practitioners of Norse magic to communicate with the divine forces and harness their powers. One of the most iconic Norse witchcraft symbols is the Vegvisir, also known as the Viking compass. This symbol is believed to provide guidance to those who carry it, helping them navigate through life's challenges and find their way back home. The Vegvisir is often depicted as a eight-pointed star surrounded by runes and can be found on various Norse artifacts and runestones. Another powerful symbol in Norse witchcraft is the Helm of Awe, also known as Ægishjálmur.
Another powerful symbol in Norse witchcraft is the Helm of Awe, also known as Ægishjálmur. This symbol resembles an eight-armed spider or a compass rose and is said to confer protection and induce fear in one's enemies. It was often inscribed on weapons, armor, and even tattooed onto the skin.
Page to Screen: The Lion, the Witch, and the Wardrobe (1988)
Once upon a time, flipping through channels, I encountered the end credits of what appeared to be an adaptation of The Lion, the Witch, and the Wardrobe; the Pevensies were walking across snow, followed by the beavers. In my memory, however, the beavers were of a regular-size, unlike the beavers that appear in the 1988 BBC television adaptation I found at my local library, so perhaps it’s not the same adaptation at all—but I can’t think of what else it could have been, being live-action. In any case, I picked it up to have something to watch while I did chores, which turned out to be a good thing; I don’t think I would have ever sat through this otherwise.
The Lion, the Witch, and the Wardrobe follows the four Pevensie children, Peter, Susan, Edmund, and Lucy, as they are relocated from London to the country mansion of a kindly professor during World War II. Playing hide and seek in their new home, Lucy hides herself in a wardrobe and discovers a magical country known as Narnia, a once peaceful and beautiful place now ruled by the White Witch and covered in eternal winter, and makes friends with the faun Mr. Tumnus. But when the Pevensies return to Narnia, Mr. Tumnus has been imprisoned by the White Witch, and the Pevensies’ efforts to save him turn into an effort to save Narnia itself—with the help of the mystical lion Aslan and without the help of their brother Edmund, who has been turned to the Witch’s service.
As an adaptation, this production is very faithful. (As Peter and Lucy’s relationship is one of my favorites in the books, I was pleased to see them get it right.) The tone is light and whimsical, even in the fairly pathetic last battle, and it’s very hesitant to add anything of its own—which, I find, hurts the character of Edmund. In the book, Lewis explains that Edmund’s behavior is due to the influence of his school chums, and in the liberal 2005 adaptation, that’s replaced with Edmund being a boy trying to assert himself as an adult in the absence of his father (and with Peter as man of the house). There’s no such explanation here; Edmund is just an annoying brat, who is introduced to the audience when he talks about all the gore and excitement they’ll miss being in the countryside and not in London. The other children always react to him in disgust and try to correct him, and there’s not really any hint of affection or connection between them at all—I was honestly surprised they wanted to go after him when he deserts them. There’s even a bizarre part of the miniseries where Edmund’s conscience addresses him, visually splitting him into bad!Edmund and good!Edmund, instead of making him a kid in over his head who needs to be shown the light—the implication is that bad!Edmund needs to be exorcised, which was just odd. The children playing the Pevensies also don’t help.
The child actors playing the Pevensies are… not good. (It probably doesn’t help that the costume choices can be offputting; Susan’s pigtails and Peter’s unfortunate shorts.) They overact, especially the girl who plays Lucy (who portrays none of Lucy’s inner strength), or otherwise flatten their characters, no doubt aided by a too faithful script that doesn’t add in things to compensate for unfilmable character moments (such as thought processes, although they certainly try). Edmund only lights up when he’s cruel, and subsides to not much of anything once he’s good—the aforementioned good!Edmund and bad!Edmund conversation shows how dull he can be. I also thought that Edmund and Peter looked to be too similar—in age, size, and bearing. The boy playing Peter also didn’t look heroic enough for me, but that’s hardly the actor’s fault, now is it? It’s a shame that the children are so poor, as they’re the heart of the book and ought to be the heart of any adaptation—failing them is almost like failing the entire production.
The special effects are trying their best, but a reliance on some terrible green screen certainly doesn’t help—the scene where Susan and Lucy ride Aslan back to the Witch’s liar? He, um, flies, instead of the bounding I’ve always imagined him to do. They also can’t decide on how to depict the animals; Aslan is a puppet, several flying beasts are animated, but other animals are people in some truly odd costumes. The cinematography is purely functional, so it’s not a treat for the eyes by any stretch. But this production does have some redeeming characteristics. There’s something campily delightful about Barbara Kellerman’s Jadis, whom I can best describe as Cate Blanchett’s Galadriel permanently stuck on the TEMPTED BY THE RING setting. She rages, howls, and cackles, bellowing her negative and keeping her eyes wide open. As far as characterization goes, I prefer Swinton’s Jadis, but you can tell Kellerman had fun. The professor is also quite good, eccentric, quiet, and very open-minded. The one improvement this adaptation has over the 2005 adaptation (which I vastly prefer) is Mr. Tumnus as played by Jeffrey Perry. He’s good-hearted but fearful, and there’s still something satyrish (but not too threatening!) about him. But good though he is, this adaptation isn’t really worth it.
Bottom line: Despite its faithful script, Barbara Kellerman’s hilariously campy Jadis, and Jeffrey Perry’s delightful Mr. Tumnus, the BBC’s 1988 adaptation of The Lion, the Witch, and the Wardrobe is a flop—the Pevensies are played poorly, the special effects are laughable (and raise some questions!), and the cinematography is, well, functional. Give it a miss.
I rented this DVD from the public library.
The body of the murdered Aslan is shown, as are th
The Web of Wyrd, or Skuld's Net, is another symbol associated with Norse witchcraft. It represents the interconnectedness of all things and the weaving of destiny. This symbol resembles an intricate web or network and is often used in divination and spellcasting rituals. The Mjolnir, or Thor's hammer, is a symbol of power and protection. It is often associated with the thunder god Thor and is believed to bring strength and luck to its wearer. The Mjolnir symbol can be found on amulets, pendants, and other jewelry. Lastly, the Valknut is a symbol associated with the god Odin and the warriors who fought in his name. It consists of three interlocking triangles and has been linked to the concept of reincarnation and the afterlife. The Valknut is often associated with bravery, honor, and the warrior spirit. These Norse witchcraft symbols serve as a doorway to the ancient world of Viking magic and spirituality. They hold deep meaning and power, connecting the practitioner to the divine forces and guiding them on their spiritual journey. As the popularity of Norse mythology and witchcraft continues to grow, these symbols serve as a reminder of the rich cultural heritage of the Vikings and their connection to the realm of the mystical..
Reviews for "Incorporating Norse Witchcraft Symbols into Spellcasting"
1. Sarah - 1/5 stars - I found the "Norse witchcraft symbolz" to be completely inaccurate and offensive. As someone with Scandinavian heritage, I am deeply connected to Norse mythology and spirituality. This product, however, seemed to completely misrepresent the symbols and their meanings. It felt like a cheap and superficial interpretation of a rich spiritual tradition. I would not recommend this product to anyone looking for authentic Norse symbolism.
2. John - 2/5 stars - I was excited to try out the "Norse witchcraft symbolz" as I have an interest in Viking culture. However, I was disappointed with the quality of the product. The symbols seemed poorly printed and lacked the intricate detail that is often associated with Norse artwork. Additionally, the symbols were presented without any context or explanation, so I felt like I was just randomly using generic symbols without understanding their significance. Overall, I feel like there are better options available for exploring Norse symbolism and witchcraft.
3. Emma - 2/5 stars - I purchased the "Norse witchcraft symbolz" with high hopes of incorporating them into my own practice. However, I found the symbols to be quite basic and uninspiring. They lacked the depth and complexity that I was hoping for. Furthermore, there was no information provided about the origin of the symbols or their historical significance. I quickly lost interest in using these symbols and opted for more authentic resources to explore Norse witchcraft.
4. David - 1/5 stars - I regret buying the "Norse witchcraft symbolz" as they offered little value for me. The symbols seemed like generic designs that anyone could find with a simple online search. They failed to capture the essence of Norse mythology and magic. I was hoping for a more in-depth exploration of Norse symbolism, but this product fell short. I would advise anyone interested in Norse witchcraft to look for other resources that provide a more accurate and meaningful portrayal of the subject.