Icelandic Magic (8 page)
8
Preparation and Inner Work
To practice the art of galdor signing properly and effectively, there are some preparations that have to be made. The lesser preparations are outer ones: a certain space must be dedicated to galdor work and certain objects suitable for the practice of the art must also be obtained. The ritual space need only be a clear and neat space on a desk or table. This does not need to be a special ritual table or altar. Galdor-stave magic is too pragmatic to require such things. There are also a number of tools that should be on hand to execute the staves and signs, such as pens (the kind used for calligraphy is ideal), parchment or paper, a straightedge (ruler), a compass (optional), and some candlesâred, white, and black. These tools will be discussed in the next chapter.
What is more important are the mental or inner preparations that must take place before success in galdor-sign magic can be expected on any routine basis. One should undertake a curriculum of regular exercises in concentration and visualization such as the one outlined in my book
The Nine Doors of Midgard
(see bibliography under Thorsson, Edred)
.
A special skill, and one that has to be learned, is that of memorizing the visual shapes and details of the
galdrastafir.
The various texts and verbal formulae that are often repeated in the practice of this magic should likewise be memorized. These skills of concentration, visualization, and memorization are ones that ancients took for granted and that modern people almost entirely neglectâthey have machines to do all that for them. This negligence is often at the root of magical failure.
When the galdor men of old would say that they wanted “to learn a sign” (Ice.
að læra einn staf
) it meant something very specific. To
learn
a sign meant that it was (1) impressed into their visualized memories such that they could reproduce it without reference to an outwardly visible model or copy, (2) they had learned how to
activate
the sign by visualizing it in
action,
and (3) they had learned (and memorized) the verbal formulae that accompanied the sign.
The first point speaks to the level of memory and concentration necessary to begin to practice this kind of magic. The second point refers to the talent the mind must develop for seeing two-dimensional objects in three and ultimately four dimensions. This faculty must be learned and practiced. All
galdrastafir
are two-dimensional representations of higher-dimensional keys to the transformation and modification of events. Finally, the verbal or other formulas of action must, of course, be learned. This last element is often seen as the most important part of the process, but the secret is that it is
not
ârather, it is the second element that really makes the sign work. The verbal component and other ritual actions seal and give final direction to the effects of the vivified sign. All of the three phases are, however, indispensable to one another.
This threefold ritual of drawing a sign from memory, visualizing its activated higher-dimensional model, and directing or sealing its effects verbally or through other ritual action is a powerful act of mental synthesis. Memory, concentration, and visualization are all focused in this act. Eventually, such magic can be practiced without even using visible models.
Success in magic or sorcery goes beyond just getting results and proving to yourself that “magic really works.” Often success in just getting something to happen ends in ultimate disaster, because the wrong things were “wished for.” The resulting short-term “success” becomes a long-term failure.
Ask yourself: Am I
wise
enough to practice operant sorcery? How do I
know
that I am actually aware of what it is that I
need
? What if I am stuck with the result of a powerful working of sorcery for the rest of my life? The answer to these questions lies in the concept of
initiation.
Most of magical effort should be spent in gaining knowledge, wisdom, and self-transformation. Most of your woes will be healed when this process is successful. However, certain emergencies in life require that the magician be proficient in sorcery. Experiment with caution and careful consideration.
Here a final warning is given because this form of sorcery is so effective. Any practitioner is urged to use it with careful consideration and wisdom. We are all reminded of Mickey Mouse in
Fantasia
âa representation of the age-old myth of the sorcerer's apprentice. If the power to change events exceeds the practitioner's wisdom to apply that power, disaster will inevitably strike. The same lesson is taught in the stories of Rabbi Loew and the golem or in that of Frankenstein and his monster. Most would-be sorcerers are protected by their own incompetence or lack of talent, the complexity and impracticability of the magical system with which they are working, or the incompleteness of the instructions they have been given. In the Gray-Skin section of this book you have a simple, complete set of instructions. For this reason I urge you to use it with wisdom, for your own protection.
For all of the reasons given above, workings to gain wisdom and knowledge appear early in the Gray-Skin section of this book. These are really the most important signs in the entire corpus, for with their successful performance and learning, no other workings will really be necessary.
9
Ritual and the Grammar of Signs
INTRODUCTION
By its very nature Icelandic galdor-sign magic is very pragmatic and outwardly simple. Inwardly, it is more complex and difficult. It does not require the memorization of long texts, the acquisition of many rare ingredients, or expensive magical tools or weapons. But at its highest level there is a requirement for precise and powerful inner skill and execution. This requirement applies to all forms of magic, but in the case of so-called high magic it is often obscured by the outer complexities of the ceremonial format. For the sign magic to work best, it is also optimal if the signs are drawn from
memory
rather than copying them from other books.
In the case of galdor-stave magic, the ritual is an inner set of events, supported by a minimum of outer actions. Ultimately, a successful galdor-sign magician will be able to visualize and quicken signs in his or her imagination and cause events to occur or alter the psychological perspectives of others.
EQUIPMENT
Pens:
In the early modern period, the scribes of the old books of magic would have used quills dipped in ink or fountain pens. The modern practitioner can use any kind of pen that he or she finds aesthetically pleasing and effective. A pen with a broad nib (such as the kind used for calligraphy) will be able to reproduce the look of the old signs better than others, but this is not necessary. Some may use pens of different colors, black, red, or green being the most common.
Parchment or paper:
Most signs are drawn on parchment or paper. You can acquire genuine parchment (made from sheepskin) or vellum (made from calfskin) for a more authentic traditional experience, but parchmentlike paper can also serve well. Normal paper is also fine. The importance usually does not lie in the substance of the medium. The old instructions sometimes tell you to use certain items, but as often as not these were things that would have been readily available at the time and place the original books were written.
Straightedge:
Many signs are made up of straight lines. To do these well, a straightedge object should be used. This can be a piece of wood or a ruler.
Compass:
This tool is only necessary some of the time. When exact circles are needed or desired, it is the instrument to use.
Candles:
Three candlesâwhite, red, and blackâare used on the ritual table to illuminate the working space. Working with such a source of illumination is more conducive to gaining the right mental state than is electric light.
Various individual workings will be found to have specific requirements for tools or substances such as water, certain kinds of wood, and so on. When it is necessary to carve a sign on wood, a knife can be used or a sharp stylus is also traditional. Other ritual items necessary to the basic working are clear and should be prepared ahead of time for the working. In general, because of the pragmatic theory of Icelandic galdor-stave magic, ordinary household objects can be brought to bear for magical use. The magic comes from inside the soul of the practitioner.
BASIC RITUAL FORMAT
As has been mentioned above, the simplest outer form of a galdor-sign working consists of merely drawing a sign, saying a magical spell of some sort, and letting it do its work. All that is needed is paper and pen. But this is a fairly advanced stage for most people. Some will find they have an innate knack for this sort of magic, while others may have the knack and then lose it along the way. This is because galdor-sign magic is an art, not a science. In the beginning of one's practice a bit more ritualism may be needed to focus and redirect the mind to do the work. This is as elaborate as such a ritual ever needs to be. The basic format of such a ritual is as follows:
- Opening
- Invoke Ãðinn: pour red wine, give half to Oðinn in a pure state, and then mix wine and water, which you drink
- Create the sign
- Anchor/charge the sign
- Break from the sign
- Closing
The ritual space is large enough to hold a table and chair. Stand behind the chair. The table is arranged as shown in figure 9.1
below. Here follows a detailed description of all ritual procedures.
Fig. 9.1. Arrangement of the Ritual Table
1. Opening
This is intended to sanctify the working space and protect the magician
from outside interference.
According to traditional lore, Iceland is surrounded and protected
by four “land spirits” (
landvættir
). These land spirits were first
mentioned in Old Norse literature in the
Heimskringla
by Snorri
Sturluson, where they are described as protecting the island from
invasion. Today they are even depicted on several modern Icelandic
coins. These same forms can be used to shield your personal working
space from outside distractions or interference. This is not to imply
that the forces being invoked are a danger but rather that other inner
or outer patterns of thought or action may interfere with the concentrated
will of the magician. The four guardian
landvættir
appear as
follows: a dragon in the east, a large bird in the north, a bull in the
west, and a mountain giant (
bergrisi
) with an iron bar in his hand in
the south.
The following ritual can be used to shield the practitioner.
Call to the
landvættir
Stand behind the table in the middle of the space you intend to sanctify. face east and with arms uplifted in the z-rune posture and say:
“From the east swims the dragon, to the dread of my foes.”
Then turn to the north and, in the same posture, say: “from the North flies the eagle, to give me insight.”
Next, turn to the west and say: “from the West charges the bull, to give me might and main.”
And finally, turn to the south and speak the formula: “from the south strides forth the rock-giant, to make me steadfast.”
As you do each of these stations, visualize the entity in question coming forth from your center and going out to a place at the outer extreme of the space you are hallowing.
2.
Invoke Ãðinn
Now sit down in the chair and light the three candles: first, the black one with the words “I am fed”; second, the red one with the words “I am shielded”; and third, the white one with the words “I am hallowed by the might and main of the strongest of spirits in Valhöll: Ãðinn.”
Now silently pour wine (grape juice may be substituted) into a glass, filling it halfway. Then pour an equal amount of spring water into the glass. Next, pour pure wine (or juice) into a sacrificial bowl as a gift to the All-Father (Ãðinn). Now drink the mixture of water and wine. Contemplate your spirit rising up to meet that of Ãðinn as an equal partner in the working of magic.
3.
Create the Sign
Now sit at your ritual table. Focus and concentrate your mind on the work at hand. Take your drawing tools and execute the sign as quickly and as skillfully as possible. Your consciousness should enter into the sign through your instrument as you draw or carve it. When a sign is well executed it can be
felt.
Speak any words that are to be uttered in the working upon completion of the sign as instructed.
4.
Anchor/Charge the Sign
Next, fix the sign in your mind by concentrating on its form. Enter into or become one with the sign in spirit. It should be visualized as existing in one or the other of the various matrices of meaning discussed below. It may be seen in three or more dimensions, or the runes that make up the sign may be clearly articulated in your mind. This process should be done quickly and requires practice through prior meditative work.
5.
Break from the Sign
After this step you should break your awareness away from the sign as completely as possible. The sign can be hidden or placed in a significant place away from your sight. The important thing is that the sign, on an inner level, is to be
released
to do its work. Continued attachment to your consciousness will only drag it back to you and away from the work it has been created to do.
6.
Closing
At the conclusion of your ritual, definitely end your work with a final gesture. This is done with a simple phrase and gesture. Those of a Christian persuasion will use the Paternoster in Latin. Most others will simply clasp their hands before them, lower their arms to a 45-degree angle imitative of the final
-rune, and say:
Â
So shall it be!
Svo skal það vera!
GUIDE TO SPECIAL INSTRUCTIONS
When instructions say that you should carry a sign “in the middle of your breast” or “on your head,” two things can be meant. It can mean that you should carry the physical stave as written on parchment or paper in a pouch so that it hangs in front of your chest or under a hat or headgear. It also can mean that you are to visualize the sign in the midst of your body or head, for example. Both the physical and spiritual versions are valid, and either can be used. Practical experimentation can be your only true guide here.
THE INNER NATURE OF GALDOR
Ultimately, the most powerful rituals are performed entirely in the mental, visualized manner that is free of external props or designs. The externals are always merely aids and mnemonic devices for the
inner
work. Working in an entirely abstract, inner manner will open the gate to the performance of galdor staves in your sleep, and in the final analysis this kind of work extends even into a post-mortem process. Many legends relate how galdor men of old had their books buried with them, which is a sign that they intended to take the magic with them and practice it even after death. In such a “performance” one sees the
galdramyndir
in multiple dimensions as if in a space unfettered by the limits of the written page, and the rainbow bridge is crossed. This is the bridge between the objective view (in which you see the sign “out there”) and the subjective view (in which you see yourself as an
embodiment
of the sign or existing or moving within the sign). These signs are devices for focusing and directing the mind in specific, effective patterns of thought. They are images of the mind and will and the relationship of these to the universe. This universe is not only the environment in which events take place but also includes the collective and individual psyches of other individuals.
On an experimental level the magician can undertake simple workings with sign magic as a way to test for effectiveness and also to discover the characteristic functions of certain features of the signs. Just drawing a sign on a piece of paper with full inner focusâalong with the obligatory break with your mental attachment to the sign to allow it to work on its ownâcan yield surprising results. Keep such experiments to harmless modulations in the environment of the minds of others. Such experiments seem to work best on small groups of people; for example, attracting business to a store or keeping people away for short periods of time. You should allow yourself to be free to play with forms and record your results. Ultimately, it will be found that different signs work differently with and for different people.