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JALMUR

by Michael Kelly

A Publication of the Order ofApep

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Copyright 2011 by the author of this book Michael Kelly. The book
author retains sole copyright to his contributions to this book.

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CONTENTS

Introduction 7

The Dragon of the North 9

Dragon Runes 23

Establishing Sovereignty in Midgard 57

Mastery of the Mind 89

Unlocking the Worlds 135

Hanging On the Tree 165

The Mysteries of Desire 195

Time and the Gods 221

Twilight of the Gods 241

Further Reading 245

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A Note on Names : It has been my intention to make this
book as accessible as possible for those with no prior
knowledge of the Northern Mysteries. Given that modern
English is itself a Germanic language, I have deliberately
chosen (in most cases, with one or two idiosyncratic
exceptions) to render names and other vocabulary relating to
magical concepts in the form likely to be most familiar and
pronounceable to the modern English reader. Thus readers
will find named in this book 'Odin' rather than 'Odhinn'.

Naturally, those who have a familiarity and love for
languages such as Old Norse or Old English may substitute
their more technical forms as they wish.

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INTRODUCTION

JEgishjdlmur is a practical manual of Draconian magic
utilising the traditions of Northern Europe. This is an
unsurprising development, since Northern European lore has
a great deal to say concerning dragons and three such great
wyrms in particular cast especially dominating shadows in the
Eddas.

The book contains sufficient information and
guidance to stand alone. Anyone who wants to begin practice
will be able to do so immediately, without obtaining other
works first. However, the serious practitioner will certainly
wish to reach out to some or all of the following three sources
of invaluable further learning, which will flesh out their
experience and knowledge to a very great degree:

1. Apophis, by Michael Kelly. JEgishjdlmur is a direct
sequel to Apophis. The curriculum contained herein
stands alone and can be practised without reference to the
previous volume. However, Apophis contains an
explanation of the foundations on which this curriculum is
based, along with a much fuller description of some of the
concepts, which may be skimmed over or even omitted in

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the current volume. Those Initiates who possess both
books will find that the chapters and themes of
JEgishjdlmur are quite deliberately arranged in the same
order as Apophis. It is quite deliberate that the two
volumes share an identical underlying structure. In this
way, an Initiate can use the techniques of chapter three of
one book with chapter three of the other, interfacing the
two perfectly. This will also be the case with further
volumes in the series.

2. The basics of Northern European mythology and runic lore
can be found within these pages, but only the bare
essentials required to do the Work herein and those
mythological models which directly impact upon the
curriculum. Serious students will need to look elsewhere
to apply flesh to these bones and to fill in the gaps and
omissions. Mythological sources are listed in the 'Further
Reading' section at the close of the book. For Initiated
insights, the student must refer to the works of Edred
Thorsson, beginning with Runelore. Again, refer to the
'Further Reading' section for other titles.

3. Serious students may wish to consider approaching the
Rune-Gild with a view to membership in order to enrich
their study of the Northern tradition (http://runegild.org).

These options for deeper study remain open at all stages
within the initiatory process, of course, and whether you
choose to avail yourself of them now, later, or not at all, I
wish you well as you prepare to don the Helm of Awe.

Michael Kelly

- The Dragon Fafnir - December 2010

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CHAPTER ONE

THE DRAGON OF THE NORTH

Draconian Magic and the Northern Tradition

Draconian Magic is a magical current which is especially
concerned with the energies and symbolism of dragonkind. It
draws its inspiration from the myths and legends of dragons
and serpents and it draws its powers from the fear, wonder
and fascination these beings bring forth within the human
psyche. It also draws its power from mankind's own
biological heritage, reaching back to the very roots of the
reptilian brain stem, the part of the mind where monsters
reside, untamed and primal. It brings these powers and
perspectives forcefully and consciously into full
manifestation within the practitioner.

The Northern tradition is that school of magic,
mythology, history, philosophy, cosmology and psychology
that has its roots in the people and tribes of Northern Europe.
This is the world of runes and the Norse Gods, the heroes of
the sagas and the world-tree Yggdrasil. This tradition lives
on in the bloodline descended from those people today, those

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who still remember the ancestral Gods and the tales that have
shaped their heritage.

Draconian Magic is a school of magic which teaches
that the goal of the soul is increased individuation and
empowerment. The sovereignty of the Self is its creed. The
purpose of the Draconian magician is to increase his own
essence to a near godlike level, acquiring new powers and
new states of being as he does so. He wins the mastery of his
own life and seeks to perpetuate that life through the
immortalisation of his psyche.

The huge difference between such a spiritual path and
that offered by the majority religions is a subject that has
already been covered in Apophis and I will not retread that
ground here.

The root ideals of the Northern peoples are hearty and
life-affirming. As such, the conflict seen within Judeo-
Christian religions simply does not occur. Man is not seen as
a sinner and a wretch, but as a noble being who is quite
literally descended from his Gods. He carries Divine worth in
his own flesh, blood and mind. As such, it can be suggested
that there is no need for a distinction between Right-Hand and
Left-Hand Paths in the North, such as one finds in other
spiritual approaches; or perhaps more accurately that the
Northern ideology is Left-Hand Path in its very essence. This
does not mean that all who follow a Northern spiritual path
are Initiates of the Left-Hand Path. Some choose to lead a
gentler, less Self-evolutionary role. But there is no such
irreconcilable conflict of basic principles as will be found
between Christianity vs Satanism, or Setianism vs the other
Egyptian cults. There is a sense of fellowship and shared
ancestry among all who follow the Northern way, even if
some choose to develop and extend that ancestral power more
than others.

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The union of Draconian Magic and Northern lore is a
profound and enriching one, a perfect magical marriage.
Dragons are a major feature of the myths of Northern Europe
and there are three particular wyrms featured in the Eddas and
sagas which will feature heavily in our Work, each
manifesting a separate aspect of the primordial serpent.

This brings us to a point where we need to define the
patrons of the curriculum that lies before us. InApophis, the
three Deities pertinent to Draconian Magic were defined as:
the Lord of Darkness, the Scarlet Woman and the Ancient
Dragon. We must now take some time to examine these
Deities as They manifest to us in the Northern tradition. If
you, like me, have the blood of Northern ancestors flowing in
your veins, you will find that this will become a marvelous
revelation, a sense of coming home. It should not be mistaken
as choosing a tradition, any tradition, and making its Gods fit.
If these Gods are in your blood and you use the Work of this
book to call upon Them, believe me, you will know about it!

The Northern Deities of Draconian Magic

Odin

In Apophis, the principal God of Draconian Magic is
explained to be the Lord of Darkness, represented in that
volume as Set, the Egyptian God who is against the Gods.

In the North, the figure occupying this foremost
position, the principal God of the Draconian magician, is
Odin, the All-Father. He is the Lord of Valhalla, the God of
the hanged, Bolverkr, Lord of Light and Drighten of
Darkness. He is a complex and multi-faceted God, which
should suit us well since Initiates must be complex and multi-

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faceted people.

Odin possesses many of the attributes belonging to
the Lord of Darkness as listed in Apophis. He broke loose of
the original cosmic order represented by the giant, Ymir, by
slaying him and using him as the building blocks for a new
creation, shaped to accommodate Himself and His fellow
Gods: the nine worlds that hang from the world- tree
Yggdrasil, most especially the world of Midgard and the
enclosure of the Gods.

He is also described as Gifting mankind with
consciousness. According to the mythology the original man
and woman were named Askr and Embla: Ash and Elm. In
other words, they were trees. The symbolism of this should
be obvious, since the complex of nine worlds in Norse
mythology is itself figured as a tree, Yggdrasil. This implies
that the human species is a microcosm of that greater cosmic
structure and is - like the Gods - capable of travelling within
all of the worlds and partaking of their unique energies.

Odin gives mankind a mind / soul complex, the
capacity for Divine ecstasy and spiritual inspiration, and -
most importantly - a sense of Self. He makes human beings
as unique, Self-aware individuals, each with a will of their
own, even as He Himself is.

Nor is Odin a comfortable God. He travels
throughout the worlds, often as a wanderer in disguise, an old
man who challenges those He meets, sometimes as a grim
joke, sometimes in deadly earnest. He tests those who take
His Name to themselves and affords them opportunities for
heroism, which often equates to great discomfort and
tribulation.

It will be apparent that an Initiate honours Odin and
seeks to emulate Him, developing the consciousness he has
been given to its most elevated and inspired potential. He

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does not offer up prayers to Odin or beseech favours, for such
would displease this God who favours heroic souls. An
Initiate will acknowledge Odin in word and deed and will
seek to emulate Him. The profoundest worship that can be
offered to Odin is to take up your own spear and stride out
into the worlds to forge your own path as He has done.

Most of the Northern tribes traced the ancestry of
their chieftains ultimately back to Odin. The All-Father was
literally the blood ancestor of the Northern folk. He is not a
God we choose to 'believe in' among other gods. He does not
require belief; He is in every pulse of our blood around our
body, a tangible part of our genetic heritage. The proof of His
presence is our own consciousness, Gifted from Him. The
existence of consciousness is the direct expression of the God
of consciousness, who is no mere metaphor. This creates a
very particular bond between Odin and the Initiate of the
Northern Mysteries, a bond which goes beyond mere belief; it
is the bond of kinship.

Unlike the Principle of Darkness in many
mythologies, Odin is not a Devil figure. He is the All-Father,
the chieftain of the JEsir. He rules in Valhalla, He is not a
rebel against the order He has created.

And yet in many ways, He is far more secretive and
subversive than any of the other Gods who follow Him. He
frequently travels in disguise and deliberately misleads
mortals and Gods alike. He is not afraid to lie or deceive in
order to achieve His aims. Odin plays a long game and when
other Gods are most concerned with the preservation of what
They have, Odin understands that Ragnarok is inevitable. He
will face it heroically, but He lays His secret plans for the
reshaping of the world thereafter. As the God of
consciousness, Odin understands the principle of
Remanifestation and applies His energies to using it instead

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of fighting it. Odin moves the pieces in His game far beyond
the limits of the vision of others. Nor is He afraid to break
the rules of the game when Necessity requires it.

The role of the Devil-like figure in Norse mythology
is played by Loki, a complex figure whose purpose is to
introduce a chaotic element into the world of the Gods, thus
creating the potential for transformation. He is a master of
transformation and disguise Himself, assuming many
different forms. As a horse, He sired Sleipnir, Odin's eight-
legged steed. He is also the father of Fenrir, the wolf of
Ragnarok, and of Hel, the Goddess of the realm of the dead
which bears Her name. Loki's influence causes strife and
trouble for the Gods, but His cunning also often wins the day
for the JEsir. It is only after He causes the death of Baldur
that He is finally chained and the events leading to Ragnarok
are set in motion. These latter tumultuous upheavals are
discussed fully in chapter nine.

Matters are more complex than this brief description
would suggest, however. Edred Thorsson makes a good case
for Loki actually being a manifestation of Odin's own
Shadow-Self rather than a totally independent entity. It took
me a while to reconcile this idea, but the more I came to
Understand and know Odin, the more certain I became that
Edred was right. Loki is a manifestation of Odin's
Understanding of the necessity for change and transformation.
He is a catalyst, and often a cruel one, sweeping away the old
to make way for the new. Odin is aware that Ragnarok is
both necessary and inevitable and Loki is the tool He uses to
ensure that it unfolds according to His design.

This does not mean that Loki is under Odin's direct
control. That is entirely untrue. Odin and Loki are frequently
at loggerheads, to say the least. But Loki is nonetheless a
projection of Odin's Will, a realisation of what is Necessary.

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It will be apparent to the astute reader that we each
have a Loki within us - our own Shadow-Self- who needs to
be unchained at times. When the path of our Wills is set and
we know what we are to do, when we are acting with our
Odian consciousness, that is when Loki will slip through also.
He will act upon the same current of Will, but will introduce
elements and shape occurrences which are tangential and
unforeseen. This phenomenon is discussed more fully in the
later chapters of the book.

It is noteworthy that both Odin and Loki are shape-
shifters and change Their forms during the course of Their
myths in order to achieve Their goals.

Those familiar with the teachings of the Temple of
Set may appreciate the following allusion: Loki is to Odin as
HarWer is to Set, a fitful and unpredictable Other Self.

What is indisputable is that Odin is the primary God
of the Northern Draconian magician. He is the God of
consciousness; the God of transformation; the God of life,
death, and life beyond death; the God of magic; the winner of
the runes; the shaper of worlds (inner and outer), who holds
the valknutr, the means of binding and loosing those worlds.

There are many tales and attributes of Odin which are
of great relevance to the Work outlined in this book and
which the Initiate will actively seek to emulate. These will be
introduced in their proper places. This brief introduction
serves merely to outline the core Essence of that God who is
the sovereign ancestral Deity, in whose Name we Work.

Freyja

The second Deity of the Draconian current identified in
Apophis is the Scarlet Woman. She is the feminine

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complement of the Lord of Darkness, the focus of Desire
within the Draconian pantheon.

The Northern Goddess who holds this position is
without any shadow of a doubt Freyja. Her origins and the
nature of Her mythology mark Her as quite distinct in many
respects.

It is to Her origin that we must look first of all. It is
highly significant that Freyja is not of the JEsir. She and Her
twin brother Frey are from a different race of Gods, the Vanir,
with whom the ^Esir fought a war. It seems highly likely that
the woman who was the cause of this war was Freyja Herself,
as will be explained below.

Why is it so important that Freyja is not one of the
JEsir? Because the Scarlet Woman in Initiation is
representative of the Other: She is that which the Initiate is
Not, but which he Desires. Freyja is a Goddess, and thus
worthy of the interest of Odin and his kindred, but She is
something different, something from Outside, something
Other, adding a new and dynamic element.

The mythology tells how when the iEsir had
established themselves, a stranger came to their halls, a
woman named Gullveig. The meeting was not a cordial one
and the JEsir killed the mysterious woman with their spears
and burned her body. She returned once again and again they
slew her with spears and burned the corpse. She returned a
third time, more powerful than before. This ill-treatment of
one of their own by the ^Esir led the Vanir to initiate a war
between the two races of Gods, finally ending in a truce and
the customary exchange of hostages.

Gullveig Herself remained with the JEsir, changing
Her name to Heithr. It seems likely from the mythological
evidence that She was in fact Freyja, since Freyja is thereafter
found among the iEsir, yet She was not one of the hostages

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exchanged at the conclusion of hostilities. The catalytic
action of Gullveig in initiating the conflict, and Her ability to
Remanifest in ever more powerful form, are also
characteristics of the Other, as the Initiate will discover when
his own Other begins to manifest Her influence in his own
life.

A word should be said about the differences between
the two races of Gods: Aisir and Vanir. The former are Gods
of the vertical axis, the spiritual dimension, linking Midgard
with the worlds above and below. They are associated with
consciousness, culture, life and death. The Vanir, however,
are Gods of the natural order of things, the yearly agricultural
cycle, animal husbandry and so forth, the means of survival
and propagation in the natural world. Following their initial
war, both groups of Deities feature in Northern mythology,
representing life in all of its aspects, natural and supernatural.

Freyja's name is actually a title rather than a personal
name; it means 'Lady', as that of Her twin brother Frey means
'Lord'. These two members of the Vanir are of enormous
importance in old Northern religion and following the war
they abode largely with the ALsir. Freyja in particular features
heavily in the mythology and it will repay us to examine
another of Her mythic tales now.

The Brisingamen was a necklace (or a belt or girdle)
which was of exceptional beauty. It was being forged by four
dwarfs and its virtue was such that it gave its possessor
tremendous power over natural forces and wealth. Freyja
desired this necklace and She obtained it through Her sexual
favours, agreeing to sleep with each dwarf in turn as payment
for the Brisingamen.

The powerful qualities of the Brisingamen were not
lost upon Odin, who desired it for Himself. He persuaded
Loki to steal the marvelous necklace, although it was returned

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to Freyja when She pledged to support Odin in His Work. In
time, She taught Odin the use of that magic of which She was
Mistress: seith, a technique quite different from His own
galdor.

This myth reveals a lot about Freyja. One of Her
primary attributes is Desire, illustrated here by Her own
Desire for the Brisingamen and the Desire of the dwarfs for
Her. This leads to an exchange, in which each obtains that
which they wish for through a sexual process.

Sexual adventures are often linked with Freyja. Her
relationship with Her twin brother Frey is incestuous in
nature. She is accused of this by Loki in Lokasenna (Loki's
Quarrel, or Accusation, a kind of jousting with words and
insults,), where He also claims that She has been promiscuous
with the entire company:

'Be silent, Freyia, I know all about you;
you aren't lacking in blame:
of the JEsir and the elves, who are in here,
each one has been your lover. '

'Be silent, Freyia, you're a witch

and much imbued with malice,

you were astride your brother, all the laughing gods

surprised you,
and then, Freyia, you farted. '

-- Lokasenna 30, 32

As the curriculum of Work in this book unfolds, the reader
will discover that Desire is a very powerful magical Key. It is
also noteworthy that in Loki's accusation, Freyja was 'astride'
her brother. This is significant, as Kenneth Grant argues in
his Typhonian Trilogies that the most correct position in

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sexual magic is for the woman to be on top of the man, not
vice versa.

Loki also denounces Freyja as a 'witch', a reference to
the seith magic She practises. Seith, as opposed to galdor, is
primarily associated with women, especially female seers. It
is carried out in a state of trance and can involve sexual
elements.

Half of the slain warriors who were assembled into
the Gods' armies were gathered to Valhalla by Odin; the other
half were brought to Freyja's hall at Folkvangr. When Freyja
Herself manifests in Her warrior aspect, She takes the form of
a great sow, a female wild boar, an animal of great ferocity.
Her chariot is pulled by wildcats.

It is said in the mythology that Freyja was married to
Odr. This may or may not be a name of Odin, but it is most
definitely the name of the ecstatic, awakened consciousness
which Odin represents. Freyja is said to seek the missing Odr
across the Earth, leaving tears of gold in Her wake.

Thus we have in Freyja a Goddess of sex, war and
magic. As such, She fulfils every function of the archetype of
the Scarlet Woman as discussed in Apophis. I must add a
cautionary note at this juncture, however. It is useful for us to
use these comparisons for the insights they afford us into the
Goddess and Her role in Draconian Magic. But when we are
dealing with a specific tradition, it would be very wrong to
say, 'Freyja is Babalon' or 'Freyja and the Scarlet Woman are
the same thing'. This is quite untrue. There exists a
resonance which allows us to sense an affinity between them,
but Freyja is Her own Goddess and will quite rightly not
respond to the names or titles of others. The Gods of our
ancestors do not exist in a world of pick'n'mix, mix'n'match
hotch-potchery. Approach Freyja as Freyja and as Freyja
alone. Otherwise, if you're lucky you'll be ignored; if you're

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unlucky you'll get your nose bloodied. You cannot - ever -
equate one Deity with another. They may be a culturally
distinct manifestation of a very similar Idea, but the
personality and the spirit will be quite distinct.

A Triplicity of Dragons

In Apophis, the Ancient Serpent was represented under a
single figure, namely Apep or Leviathan. All facets of the
Draconian Essence were discussed under the segis of this
single entity.

This encapsulation of Draconian attributes in one all-
encompassing Form is a good thing and a necessary thing,
representing the Draconian Essence awakening within the
psyche of the magician. However, when we look at Northern
lore we find a particularly rich history of dragonkind and
these individual serpents can be used to invoke and embody
specific aspects of Draconian consciousness. This allows us
perhaps a little more precision in our Work and a boost to our
Understanding.

There are many dragons in the myths and legends of
Germanic countries. The student can profitably research a
great many of them. The dragon in the final third of Beowulf
is a good example. But there are three dragons in particular
which are of great antiquity and whose attributes particularly
inform our present Work. These are Fafnir, Jormungandr and
Nidhogg.

Fafnir is the dragon slain by the great hero Sigurd.
This story is recounted in the Fafnismal and in the Saga of
the Volsungs. Unlike most of the sagas, that of the Volsungs
is evidently a very old tale and its tone is mythic rather than
historical.

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Fafnir is the guardian of a great treasure of gold and
the bearer of the JEgishjdlmur, the Helm of Awe, after which
this book is titled. Sigurd kills Fafnir and wins the gold and
the Helm. He also tastes the dragon's blood and acquires its
wisdom, exemplified by his newfound ability to understand
the speech of birds. The sequence of transformations in this
tale forms the central Initiatory process of this book and is the
focus of chapter six.

The transformative process described in the tale of
Sigurd and Fafnir extends throughout the book, however,
including some of the practical techniques taught, such as the
use of the Helm of Awe as a tool for operative magic. Most
of these allusions and developments will be pointed out, but
the Initiate is well advised to read the source texts several
times in order to draw their atmosphere and mythic pattern
within.

The second great mythic serpent is Jormungandr,
often referred to as the Midgard Serpent. This enormous
beast is a sea serpent, dwelling in the ocean depths.
Jormungandr was originally a monstrous child of Loki and
was cast into the sea by Odin. Once there, it grew to such a
size that it encircled the entirety of Midgard with its body.

The symbolism of Jormungandr echoes that of the
Ouroboros, the serpent forming a ring and taking its own tail
in its mouth. The function of this great sea dragon is to
establish the boundary of the world and to mark its limits. If
Fafnir represents the Dragon Within and the initiatory journey
of the magician, then Jormungandr represents the Dragon
Without and the arena in which that journey takes place. The
two are distinct and yet there is a link between them. This
polarisation between the two dragons will be discussed more
fully later in its proper place.

The great enemy of the Midgard Serpent is the God

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Thor, who nearly breaks the foundations of the world when
He hooks the dragon on a fishing expedition and almost
succeeds in reeling it in with His great strength. At Ragnarok,
it is Thor who will slay Jormungandr with His hammer
Mjolnir, though He Himself will perish from the Serpent's
venom. When Jormungandr is slain, the bounds of the world
will be broken and reality as we now know it will be swept
away.

The third of our triplicity of mythic Northern dragons
is Nidhogg, a winged dragon who is said to have its lair in the
deepest parts of Hel's domain, feeding upon the dead and
rending the very roots of Yggdrasil with its claws, spewing
venom upon them. Nidhogg is a devourer, whose sole
function is to consume. It is thus the dragon of time, which
devours all. And yet, it is the dragon which may devour time
itself and therein lies its initiatory key. It is reminiscent of the
mythology of Apep recounted in Apophis, the serpent who
swallows the Sun. As such, Nidhogg will be a force to be
actively resisted by those beginning on their initiatory quest,
but a force to be actively harnessed by those who are well
advanced upon it.

The Mysteries of Nidhogg will be discussed more
fully in their proper place.

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CHAPTER TWO

DRAGON RUNES

The Language of the Gods

All magic, including Draconian Magic, is first and foremost
concerned with communication. Every magical act is an act
of communication. Magic is a communication with the Gods,
with our own hidden complexes, with the world outside
ourselves. This is not simply a matter of firing out messages,
requests, prayers or petitions and hoping something comes of
it. Any effective communication must be a two way process.
It is question and answer, proposal and response, comment
and reply; it is dialogue.

In order to effectively communicate, we must have a
sophisticated language with which to convey our ideas. In
the magical realm, ordinary words are useful, but are not
sufficient. There are magicians who scorn the use of words
altogether, but words are a symbol set just as valid as any
other. As Anton LaVey pointed out, a well chosen set of
emotionally charged words and phrases can fan the Magical

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Will and the empowering force of Desire to fever pitch.

Passion is not enough, however, precision is also
required. It was Stephen Flowers, the Magus of Runa, who
pointed out that the correct application of passion and
precision in due proportion will be the measure of a
magician's success.

This precision is achieved by adopting a purely
magical symbol set, preferably one based upon a solid
tradition, which has been tried, tested and refined over the
centuries. This will give us a concise and meaningful way of
clearly specifying our aims in a language which is understood
by the subconscious. Once we have settled upon such a
symbolic language, we will be able to communicate our
magical Will with clarity.

In Northern Europe, this precise magical encoding is
achieved through the use of the runes. Each rune possesses
four unique qualities: it has a shape; it has a sound; it has a
number; it has an inherent meaning. The practice of rune
magic is known as galdor, a word which has a meaning akin
to 'croaking' and refers to the speaking of the runes. The
runestaves may be used to define our Will in speech or in
writing. Specific ways of using the runes for magical
purposes are described in chapter four.

The runes were originally arranged in a sequence of
twenty four staves, known as the Elder Futhark. This twenty
four rune set is the most complete and traditional iteration of
runelore and this is the rune sequence used throughout this
book. It most fully embodies the original Vision of the early
runemasters.

In the Viking Age, the runes were recodified into a
simplified set of sixteen staves. In this reworking of the
runes, some of the more complex staves were given simplified
forms and some sound values were grouped together under a

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/EGISHJALMUR

single stave. This should not be seen as a degradation of the
original tradition; it was a thorough, Initiated reinterpretation
and Remanifestation of the runes to meet the needs of a new
age of expansion and exploration. The Younger Futhark, as it
is known, has proven itself to be extremely effective in
Workings of operative sorcery. These are the runes which
were used on my own home, the Isle of Man, and they are the
runes I usually use for operative magical Workings.
Nevertheless, it is in the Elder Futhark that we find the most
comprehensive expression of runic philosophy, so that is the
rune series used in this book. The Elder rune row is certainly
the one which Initiates should familiarise themselves with
first; those who wish to then use the Younger Futhark will
find it easy to adopt the Younger row having first Understood
the Elder.

The Old English runes were basically the Elder
Futhark with new staves added to the end of the row to allow
for new sounds as they were added to the language, so its
underlying lore is basically that of the Elder rune row.

Those desiring a more in-depth history of the
development of runes are directed to Runelore and the other
books of Edred Thorsson.

The runes of the Elder Futhark are tabulated below,
along with their number and sound values and their primary
meanings.

Number Rune

Name

Sound Meaning

■j f fehu F cattle, money

2

n

uruz

U

aurochs

3

►

thurisaz

Th

thurs, giant

4

*

ansuz

A

ancestral god

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^EGISHJALMUR

5

k

raidho

R

wagon, riding

6

<

kenaz

K

torch, sore

7

X

gebo

G

gift

8

t

wunjo

W

joy

9

H

hagalaz

H

hail

10

+

nauthiz

N

need

11

I

isa

1

ice

12

<>

jera

Y

year

13

sT

eihwaz

El

yew

14

C

perthro

P

lot-cup

15

r

elhaz

-Z

elk

16

*

sowilo

S

sun

17

t

tiwaz

T

Tyr

18

£

berkano

B

birch

19

M

ehwaz

E

horse

20

h

mannaz

M

man

21

h

laguz

L

water

22

o

ingwaz

-NG

Ing

23

M

dagaz

D

day

24

£

othila

property

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/EGISHJALMUR

Knowing the names and shapes of the runes is one thing, but
it is necessary to Work with them, carving and colouring
them, singing them and shaping them, meditating upon them,
in order to make them your own. These practices all form
part of the curriculum of this book and will be presented in a
logical and workable order.

The information given here will be sufficient for
anyone to use the runes in Draconian Magic. However, those
who desire to create a deep and authentic connection with the
runes are referred to The Nine Doors of Midgard by Edred
Thorsson, published by Runa-Raven Press. Edred's book
details a three year course of study and practice which will
ingrain the runes deeply in your soul. It is a demanding
course, but the rewards are immeasurable. Needless to say, it
will greatly enrich your experience with JEgishjdlmur.

The process of making the runes your own will make
you acutely aware that each rune has an existence both within
and without. A rune expresses certain elements inside your
own being, but it also embodies a quality that is found in the
world outside of yourself. Once you have identified the
essence of a rune within you and in the world you will
become conscious that the two are linked; in a sense, they are
one thing. A stream flows between them in both directions
and thus the manipulation of the runes within your own mind
can cause changes to occur in the outside world. In a similar
way, the shifting of the runes in the outside world can cause
new insights and understanding to manifest within your own
being, through practices such as divination.

Ultimately, all runes, both within and without, are but
aspects of a single Rune (the word 'rune' actually means
'mystery'). This is Runa itself (or Herself, since Runa is often
referred to as a Lady), the Mystery that lies behind all
mysteries, that which is always sought after but never quite

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^EGISHJALMUR

found, the promise that lies just over the horizon. A lot more
will be written about Runa in this book and the subject will be
discussed at length in the appropriate place. Runa is the
entire motivation for magic.

Dragon Runes

The core, traditional meanings of the runes can be found in
the writings of Edred Thorsson, listed in the Reading List at
the back of this book. The Initiate is encouraged to study
these carefully in order to establish a fully rounded and
authentic Understanding of each rune.

The meanings suggested below are specifically
tailored to the purposes of Draconian Magic. They do not
contradict the traditional meanings, they merely draw out and
emphasise the aspects most pertinent to our current Work.
These meanings do not replace the traditional ones. It must
be borne in mind that the meanings below may weight certain
runes in certain ways, accentuating some runic aspects and
abbreviating others. Although they are fully functional and
tailored to the practice of Draconian Magic, Initiates who
wish to explore the use of runes more fully will necessarily
take time to study the traditional meanings also in order to
understand how the current ones have been derived.

F

Fehu

The Draconian associations of this rune are apparent from the
outset. It is strongly linked with the dragon Fafnir and his
cursed hoard. The rune refers to both the dragon's fire and the

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/EGISHJALMUR

gold it guards. This is explicit in the words of the Old-
Icelandic Rune Poem:

(Gold) is the strife of kinsmen and fire of the flood-tide

and the path of the serpent.

The "fire of the flood-tide" is both the fiery breath of the
dragon and the gleam of the Rheingold beneath the waters.
The "path of the serpent" is the path of Fafnir, who seized the
treasure and hoarded it, causing the "strife of kinsmen" in the
Saga of the Volsungs.

These are powerful mythic images and highly
representative of the rune and its danger. But the Old English
Rune Poem points out that "every man ought to deal it out
freely". The dragon's gold is not to be hoarded. The proper
place for the Rheingold is in the Rhein, freely flowing in life's
stream.

Gold is a powerful magical tool. Particularly in the
modern age, money is imaginary: figures that bounce back
and forth in the banking computer system, without substance
or real essence. Money has value because people believe it to
be so. To hoard it is to hoard an illusion. This imaginary tool
should be used to win your goals, to travel to new places, to
influence people. This is the truer sinuous path of the
serpent, a path along which the fire does not flicker and die
but constantly finds new fuel.

h Uruz

The Draconian aspect of uruz is perhaps best illustrated by
the Dragon as invoked by Merlin in the movie Excalibur: an

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^EGISHJALMUR

imminent force of nature that rises powerfully from the earth
itself. The animal generally attributed to the rune, the wild
aurochs, is a symbol of great strength and vitality, a beast that
fights with its horns and is "a famous roamer of the moors".

This rune embodies primal strength and vigour, a wild
ferocity and freedom that refuses to be bound. It is the
Dragon in its most aggressive and dynamic manifestation.

The rune provides the Draconian Initiate with great
strength of purpose and the stamina to carry his goals through
to completion, but it demands the sacrifice of all inhibitions
and societal restraints in the process. To effectively use this
rune, one must emulate Captain Nemo and not be a civilised
man.

>

Thurisaz

Thurisaz is described as a thorn or a thurs (i.e. a giant), also
as a symbol for Thor's hammer. In all cases, the symbolism is
aggressive and violent. In Draconian terms, it represents the
tooth or claw of the Dragon.

This rune is brute force. Contrary to most modern
bleating, brute force is sometimes regrettably necessary.
However, it always inflicts wounds and bruises.

The rune is a symbol of conflict and conflict is
inevitable, whether we like it or not. Better to be the Dragon
than to be devoured by it, but the price is always high.

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/EGISHJALMUR

t

Ansuz

Ecstasy and inspiration derived from the ancestral sovereign
God: the magical power of speech and poetry. These are the
usual meanings of the ansuz rune.

These meanings speak of consciousness; its
awakening and its inspiration. In Draconian terms, ansuz is
the hot wind of the Dragon's breath that stirs the cloak of
Odin. Its heat and motion scorches the mind, blasting out the
old, dead leaves that lie cluttered in its corridors, enlivening
and energising the conscious faculties. It emerges again from
the mind through the mouth in a rousing stream of oratory.

k

Raidho

Traditionally, raidho represents a journey, a 'riding'. It carries
the meaning of an ordered progression. This is echoed in its
Draconian symbolism, in which the shape of the stave may
perhaps be interpreted as the carved head of a Viking dragon
ship as it journeys through the waves, the head of the dragon
gazing out over the miles that lie ahead.

The concept of ordered progression may also be seen
in the movement of a serpent, as will be recognised by anyone
who has seen the patterns left in sand after a snake has passed
over it.

This rune stands for far-seeing and planning, the
process of a well-planned journey (whether literal or
metaphorical) and the recognition and implementation of
repeating patterns.

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^EGISHJALMUR

<

Kenaz

Kenaz is a torch. In other words, it is a controlled fire,
harnessed and utilised by human ingenuity. Its sound value
suggests words such as 'kenning', 'cunning' and 'craft'. As
such, it expresses the insight and occasional deviousness
which leads us to think outside the box and develop new
technologies, using the properties of physics to enhance our
lives. Kenaz will always contain a certain subversive
element, for even the most benign invention requires the
ability to think in a way that sidesteps the usual obstacles.
This accords with the legendary cunning of the Dragon and its
love for riddles and misdirection. In spite of its undoubted
positive applications, there is always a certain streak of
cruelty in kenaz, evidenced by its alternate meaning as 'sore'.
This too suits the character of the Dragon. The rune's shape
may be considered representative of the Dragon's jaws
yawning wide to breathe fire.

X

Gebo

Gebo represents a gift. In actual fact, it embodies the entire
process and all of its variables: it is the act of giving; the
thing given; the giver and the one given to. It also implies the
responsibilities and obligations which come with the
exchange of gifts.

This is largely a positive rune. Gifts strengthen
friendships, seal pacts and forge alliances; they can also
placate and reconcile enemies. Whether the gift is gold or a
word of friendly advice, the principle is the same.

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/EGISHJALMUR

But the cold and unyielding eye of the Serpent warns
that a gift - whether given or received - may incur an
obligation, whether explicit or implicit. So give wisely and
warily, only to those who merit it and always in proportion.
A gift should mean something.

y

Wunjo

What does this rune of fellowship and camaraderie signify for
the Draconian Initiate? Quite simply, it symbolises the link
with all of the actual and legendary Orders of the Dragon that
have persisted throughout history. The shape of the rune is a
banner upraised on behalf of all those who understand the
serpentine roots of consciousness. It is the fellowship of the
Mysteries themselves and the fellow travellers we meet upon
the Path.

But also significant is the rune's meaning of joy.
Sorrow and misery are the default mindsets of the major
world religions. The Draconian Path champions a fierce joy
in all of life's experiences: existence itself is a pleasure and
delight; life is sheer exuberance.

H

Hagalaz

Hagalaz is an imprint of order; it establishes a pattern and
stamps it upon reality. This is manifest in the fractal patterns
of nature, the orbits of atoms and the principles underpinning
the laws of physics. But for the Draconian magician, a
champion of consciousness, this will be a self-created order.

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^EGISHJALMUR

Hagalaz is the process invoked when the Eye of the Dragon
wishes to recreate itself in the wake of initiatory progress,
sweeping aside the old to make way for the new.

But this Remanifestation has its destructive side. The
hailstorm of the dragon's breath will lay waste crops and
cause structural damage to property. But the world
afterwards will be new and fresh, ripe for rebuilding,
imprinted with a new pattern.

Hagalaz is all about the perception and use of
patterns. These may be long-lost patterns of behaviour,
ancestral tendencies or core values, hidden in the deep places
of the soul, waiting to be reawakened. Or they may be new
patterns, freshly invoked, birthing in joyous fanfare. These
moments of exhilarating crisis are what we ultimately use and
direct to define ourselves.

+

Naudhiz

Need is the driving force behind evolution, the transformation
from one state of being to another. It is also the driving force
of the Draconian magician.

Most people in the modern world are programmed
with a set of goals: marriage; mortgage; children; good career
with 'prospects' (whatever they're supposed to be); a nice car;
a comfortable three piece suite, regularly renewed in the
annual sales; a good credit rating; an obligatory conservatory;
dinner parties with trendy low fat, reduced sugar, zero
nutrition foodstuffs. And so on...

Need rubbishes this list. Need doesn't concern itself
with comfort, excess money, social acceptance or anything
else of that sort. Need cares only that life is vital, exciting

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^GISHJALMUR

and transformative. Jobs, relationships and respectability
may all be jettisoned in the service of Need.

Need is fueled by Desire. If we accept (and I do)
Anton LaVey's division of the human soul into surface
personality, hidden Daemonic Self and innermost Core Self,
the Need-fire within the magician is ignited by the friction
between the various layers of his own being. It must be noted
that this inner conflict is not a negative thing; it is a very
positive and dynamic affair.

The outer personality Desires the Daemonic Self,
which in turn Desires manifestation. This Desire is projected
as goals and quests in the outer world, which drives us to
achieve great deeds. These in turn feed back to the Core Self,
transforming and energising it. Thus the glorious game of
Self-creation continues while the Dragon fire continues to
burn. That other face of naudhiz, the devouring dragon
Nidhogg, reminds us what happens when the flame of Desire
sputters and dies: to stand still is death.

Isa

In the Celtic symbolism of Vortigern's tower, there are two
Dragons in perpetual conflict: a red one and a white one.
This is echoed in the Draconian interpretation of the runes
fehu and isa. The former, as already discussed, is the
expansive force of fire. Isa is the contracting force of ice. If
the former is the fury and passion of the Dragon's flame, the
latter is the stillness and intensity of its gaze.

This conflict is a necessary one and intensely
creative. It is the root of the Germanic creation myth, as the
outflowings from Muspellheim and Niflheim meet in

35

^EGISHJALMUR

Ginnungagap. If either force is missing, the Void cannot give
birth. If either force is lacking in the Initiate, he cannot
continue to Remanifest his own being.

In the Initiate, is a represents his ability to turn back in
upon himself, to concentrate his essence and seperate it from
his surroundings, withdrawing to a vantage point bordering on
the Void. Is a is the resultant ray of intense concentration,
pure and unsullied, which is directed outward from his core.
From this vantage point, he may view events with complete
dispassion and concentrate his Will into an irresistible focus.

\ Jera

J era, the turning of the cycle of the year, the recognition of
cause and effect and the apprehension of recurring patterns,
resembles the well known symbol of the serpent swallowing
its own tail; it is Jormungandr, encircling and defining the
limits of the world. As such, it is a rune of Self-definition and
subsequent Remanifestation.

With the Initiated Draconian awareness, such a
pattern is not merely cyclical, however. With every turn, with
every Remanifestation, we do not simply come back to the
same place, doomed to repeat the same pattern for eternity.
The imperative of consciousness is that we recognise the
patterns that we ride, that we learn from them. As such, we
ride a spiral rather than a strictly fixed course. Every time we
come around we find ourselves in a better position to use and
shape the forces that sustain us, becoming more than we
previously were.

The Eye of the soul focuses at the still point at the
centre of the turning wheel, seeing all clearly and

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/EGISHJALMUR

dispassionately: whereas the conscious, incarnate mind
strives to cling to the very rim, experiencing the thrill of
maximum speed and transformative potential. The truly
awakened soul accomplishes both at once, as discussed under
the dagaz rune.

>T

Eihwaz

This is a rune of the span of consciousness, from its most
primitive and bestial manifestations right through to Self-
generating divinity. The Dragon is the most noble and the
most ravenous of mythical beasts. The Draconian
consciousness must understand and embrace all of these
extremes, synthesising them into a Self, if it is to achieve the
full span of eihwaz.

This is a rune of life and death and the limits within
which they occur. It is also a rune of the consciousness to
which such limits are irrelevant.

Eihwaz is in certain respects indicative of Yggdrasil
itself, the height and depth of the World Tree from which the
worlds depend. To the Draconian, a shift in perspective is
required, so that the span of the Tree is the Initiate's own
consciousness, the framework of the worlds within. The Self
becomes the constant around which all else revolves.

U Perthro

Perthro is the lot cup, the element of chance. It is also the
weight of past history that carries us to the event where

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^EGISHJALMUR

chance is invoked. Every possibility or probability that may
arise has come about because of the patterns we have woven
through our own actions to date. Every decision depends
upon the decisions that came before it.

The Dragon, with its Eye in eternity, understands this.
It learns to read and interpret the patterns active in every
circumstance (a practice we may develop through rune-
casting for divinatory purposes). Moreover, it understands
how such patterns are formed and learns to actively steer its
own future through its present actions and the reinterpretation
of the trends of its past. The Draconian Initiate forges his
own destiny.

No matter how precise the patterns, the way in which
any event finally falls out depends upon the factor of chance,
the weighing of the probabilities, the rolling of the dice. The
Initiate welcomes that chance, recognising it as symptomatic
of the Void - Ginnungagap - from which all things ultimately
issued. The fact that both our best-laid plans and our most
desperate gambles each remain dependent upon a chance
element is a cause for rejoicing, as we know that the future
will always unveil something fresh and at least partly
unexpected.

T

Elhaz

Elhaz is the root rune of the Helm of Awe, the entrancing
gaze of the Dragon Fafnir. It is also the sword in the hand of
Sigurd, who slew Fafnir and assumed the Helm and the
Dragon's treasure to himself, a transformation from Beast to
Man to God through the power of this rune.

The sexual symbolism of the rune, depicting female

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/EGISHJALMUR

genitals in its normal form and male when inverted, is
indicative of the opening of the Serpent's Eye and the
streaming of the creative / transformative forces across
Ginnungagap, a doctrine central to the Helm Project of the
Order of Apep, and depicted in the Order Seal below:

*

Sowilo

The lightning strike symbol depicting the sun's rays is
suggestive of the zig-zagging motion of a serpent across the
sands. It is a smooth and efficient motion, carrying the snake
unerringly on, as a ship is steered by the position of the sun in
the heavens in the rune-poem. Yet it is a motion that seems
strange to those whose thoughts are fixed only on their feet.

Sowilo's sunlight brings the clarity of the Dragon's
gaze and the certainty of the snake's motion, steering us to
that destiny which we have crafted for ourselves.

1 Tiwaz

This is the rune of the axis of the worlds, around which all

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^EGISHJALMUR

revolves. It is the serpent who coils around the pole in the
night sky.

For the Draconian Initiate, this axis is his own
innermost Self, the only true and abiding constant in his life.
Upon the aesthetic and ethical standards of this Self, he must
establish the laws of the world in which he chooses to reside.

It will be observed that the pole itself neither moves
nor transforms: only the appearances that spin into
manifestation around it.

The worlds derive their meaning and their ordering
from the pole: the pole finds its sense of identity reflected
back to it from the worlds.

Berkano

This rune is attributed to the Birch-Goddess and the
Draconian interpretation has little to add to this. Some
magicians tend to forget that they are just as subject to the
general operations of nature as everyone else. We are born,
we need to be nurtured through our childhood, we enter our
own adulthood and ultimately we die.

There is no conflict between the Birch-Goddess and
the Draconian current. Indeed, in certain mythologies and
interpretations it is evident that the primordial Dragon is itself
female and associated with birth and generation.

The Draconian Path is concerned with the flesh.
Unlike those religious creeds most people pay lip service to,
there is no enmity - and little differentiation - between flesh
and spirit in the original European religions. The body is one
part of the complex that makes up the Self. Incarnation is a
joy, not a chore.

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/EGISHJALMUR

The generative forces attributed to berkano are among
those most readily harnessed and applied by the Draconian
Initiate.

Pi Ehwaz

Most religion is concerned with the cessation of Desire, but
Draconian Magic is - and always has been - about the pursuit
of Desire. The Draconian Initiate seeks out those people,
places, things and organisations that resonate with his Desire
and allies himself with them.

His Desire itself, the hunger in the Dragon's heart, is
really the very steed that he rides. But he knows to value the
relationships and partnerships he forms along the Path. He
draws strength from the Other, who reflects and strengthens
him, providing a conduit for those qualities he may personally
lack. This is the Mystery of Exchange.

M

Mannaz

This rune may be viewed as two uruz runes facing each other
and overlapping. This creates a central gebo rune in an
elevated position. The interpretation of this is a definition of
Man as a creature in whom the Gift of consciousness has
assumed dominance over the bestial nature.

This illuminated, Self-aware Man is the one who is fit
to command the Beast, to tame / slay / steer the Dragon. This
Man is a hero of Sigurd proportions, properly fitted to face
and overthrow Fafnir, assuming the Dragon's powers and

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^EGISHJALMUR

riches.

As illustrated in the shape of the rune, this Man is the
strength and vitality of a Beast merged with the consciousness
and Will of a God.

h

Laguz

This rune signifies a lake. It is a reminder of the source of
life and the weight of evolution and ancestral development. It
is the forces which shape life itself and the processes which
shape and define the course of life, the rites of passage we
undergo.

The rune's other meaning, as laukaz, is a leek. Such a
plant grows in an environment which encompasses water,
earth and sky. In just such a way, our lives grow in an
environment shaped by both natural instinct and biological
imperatives and the wider plains of the imagination and the
realisation of consciousness itself. We are impelled by the
patterns that have been established in our past, but are also
guided by our visions of the potential of the future.

We possess the divine spark of consciousness, but we
are not Gods. We are meant ro exist in this world, in
Midgard, first and foremost. The wise Initiate does not fight
against the environment in which he finds himself. Instead,
he learns its ways and adapts himself to best possible use of it
in order to achieve his goals.

The proper harnessing of the forces in the laguz rune
depends upon a proper Understanding of the nature of Man,
as shown in the preceding mannaz rune.

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/EGISHJALMUR

O

Ingwaz

This is the rune of gestation, of introspection and incubation.
Initiation is a cyclical process. Each initiatory cycle will
include a phase where the Initiate seems to run into a brick
wall and can progress no further. Life reaches a standstill and
it takes much effort to simply tread water. Magical Work
yields unsatisfactory, muted results. There seems nowhere
further to go.

In such a situation, to simply continue on as one
always has done is to achieve a state of stagnation at best,
regression at worst. Instead, it is necessary to withdraw and
to turn inward, seeking the walls that you have built inside
yourself. This is a process of analysing your reasons and
motivations for the Work, assessing which of your practices
are helpful and which are merely habit. It is time for a
Nietzschean "revaluation of all values". Only by such an
active reassessment and repointing can we identify our self-
created blockages and demolish them, emerging into a far
bigger world of magic and potential than we previously
inhabited. Until the cycle turns again, of course, and we have
expanded to fill our new space also.

Every time we achieve such a breakthrough after a
time of incubation and reflection, every time we win our new
Vision and create our new Destiny, we can only see so far
ahead. We unconsciously create new barriers for ourselves at
the limits of our Vision, and it is these that we inevitably
bump against as we continue to grow and to fulfil our
potential and promise.

Such blockages, which seem frustrating and
disheartening at the time, are thus positive indicators. They
mean that we have reached the limits of what we previously

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^EGISHJALMUR

understood and that it is time to seek a new illumination. In
Draconian terms, the whole process of ingwaz may be likened
to the serpent shedding its skin when it has outgrown it,
emerging as a new being: the same, yet greater.

M

Dagaz

The rune expresses the zigzagging cyclical course of the
Draconian Initiate as he / she passes through a central still
point - the point of focus of Self, where all perceptions are
ultimately evaluated - and rides the course through all
extremes and polarities of experience: symbolised in the rune
by night and day, light and dark, known and unknown.

It is the duty of the Initiate - as superbly recounted in
Colin Wilson's book The Outsider - to ever seek the
extremes, but to always remain apart from extremism, soaking
in the knowledge and insight to be gained at the edges of
experience without identifying with them. The serpent's
course always zigzags back again to the centre, then on in a
new direction.

*

Othila

The rune row begins with the spendable wealth of fehu,
wealth which we are urged to keep in circulation rather than
hoarding. The final rune represents another kind of wealth
entirely, the wealth of the homestead and assets of a more
permanent variety. These we are expected to hold onto and to
treasure, for ourselves and for our posterity.

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/EGISHJALMUR

The traditional interpretation of the rune's shape is of
the fenced enclosure which surrounds and protects the
homestead. In Draconian symbolism, it may equally be the
sleeping dragon in its lair, enfolding its treasures, claws
crossed before it.

Fixed wealth refers to more than just the stability and
security of the home, however. It signifies all of those
treasures that we have gathered to ourselves because they tell
part of our story, because we have chosen them to mirror and
represent some fact of our Selves. These may be things of
little actual financial value, but which provide a link to our
past. My grandfather's binoculars are one such treasure that I
own. Others are things which express our values and sense of
beauty. The range of statuettes that stand on the shelving
behind me as I type this are bold and idiosyncratic statements
of my sense of aesthetics. We all have such treasures, which
when viewed with the initiatory eye are far more sacred and
transformative objects than any occult trinket.

Galdor and Seith

As mentioned briefly in the previous chapter, there were two
distinct types of magic used by the folk of Northern Europe.
These were called galdor and seith and owed their origins and
inspiration to Odin and Freyja respectively (though each was
capable of using the magical techniques of the other).

Galdor was a form of magic which primarily used the
runes - chanted or written / carved - and was very much
directed by the conscious mind. The runer selects runes
whose meanings resonate with his purpose and then focuses
his Will upon those runes, awakening them within his own
being and sending the stream of rune-shaped Will out into the

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^EGISHJALMUR

world to effect his desired change.

Seith is the magic of the seeress, who seeks to still her
conscious thought and allow images, visions or voices to arise
from the depths of her subconscious or from the worlds
beyond Midgard. This form of magic was most often
employed by women and was considered shameful by most
men of the period. This did not prevent Odin from seeking
tuition from Freyja in order to learn its secrets, however. The
seeker after magical power cares nothing for the sneers or
values of the ignorant and if it's good enough for Odin, it's
certainly good enough for us.

Most of the Work of the early chapters (equating to
the first three heads in the Apophis curriculum) will focus
upon the techniques of galdor. Throughout, we will be trying
to build bridges between the conscious and subconscious
aspects of the mind, but the latter can only be effectively
Worked with when it has established a rapport with the
former and a good two-way communication is manifest.

Despite this, the first Working of ^gishjdlmur is
more akin to seith, since it is a visionary meditation intended
to link the new Initiate with the Northern Draconian current.
This first Working, which should be carried out prior to
starting the Work of the next chapter, will awaken the
Essence of Fafnir - the first of our three dragons - in the
Initiate's consciousness.

Fafnir's Hoard - A Working

This Working is intended to be carried out over a few
successive nights, each one adding to what has been achieved
before. Its symbolism will be investigated in the chapters
which follow, but it is important that this symbolism should

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^GISHJALMUR

be made 'live' within the psyche now, preparing the Initiate
for the particularly Draconian aspects of the Work that lies
ahead.

The Working is a visual meditation. At this stage, the
Initiate should not worry about the peripheral details. Yes,
assuming a formal posture can enhance such Workings. Yes,
establishing a proper rhythm of breathing can deepen the
richness of visionary Work as the blood is better oxygenated.
Yes, prior experience with the vision-making powers of the
imagination can render such a Working more stable and less
likely to lose concentration and cohesion. But every single
person capable of sitting down and reading this book
possesses sufficient power and skill to carry out this simple
Working in a way that will be effective and which will
prepare them for the curriculum that lies ahead.

You only need three things in order to be able to carry
out this Working effectively:

1 . You need to be able to go to a quiet place where you can
be alone and where you will not be disturbed for the
duration of each day's Working. This may be a
comfortable armchair in a quiet room. At a push, it might
even be lying in bed when you retire for the night (so long
as you remain awake to do the Work).

2. You need to be able to relax and get yourself comfortable.
You may choose to sit down in an armchair, you may
prefer to sit in a stable, straight-backed pose in an upright
chair, or you may even lie down on your bed. At this stage
it doesn't matter, so long as you are able to relax and turn
your mind to things other than your body.

3. You need to have a good imagination. A lot of people will
protest that they don't have a good imagination, but we
can soon give the lie to this. Imagine your favourite

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^EGISHJALMUR

celebrity lust object lying naked on a bed, luring you over
with an enticing smile and all the promise of the lifestyle
of wealth and luxury that an affair with them would bring.
You didn't find that piece of imagining too difficult, did
you? I bet it leapt fully formed into your mind without
you even having to think about it. If in doubt, go and read
a novel that appeals to you for practice, you'll find that
you're perfectly capable of exercising your visual
imagination when you allow yourself to do so.

The basic procedure is a visualisation, a re-enactment in
personalised form of certain aspects of Sigurd's encounter
with Fafnir. The Working is intended to progress over nine
nights, with each night's phase adding to what has gone
before. Its purpose is to awaken the Draconian current of the
North within you and prepare you for the curriculum of Work
in this book.

The First Night

Begin by relaxing in your chosen place, free from
interruptions or distractions. Phones should be unplugged,
mobile phones switched off. Take as much time as you need
to completely relax and settle, stilling your mind and
preparing to give your full concentration and attenion to the
Working.

Then allow your mind's eye to build up a landscape in
your imagination. It is a grey, barren mountainside, with only
a few gnarled and stunted trees, all leafless. The wind blows
strongly, grey clouds scudding overhead, threatening rain or
even snow; it's certainly cold enough. The ground is uneven,
with many dried up streams and ravines breaking its parched
surface. Imagine strongly that you are standing in this

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/EGISHJALMUR

unwelcoming environment. Look around you and fill in its
details. Take a few steps in it, but don't wander far from your
starting position at this time. In the near distance, you can see
a deep hollow, a cave entrance yawning in its depths. Do not
approach it. Just use all of your Will and your power of
imagination to render this inner environment real and tangible
to you. When you have established and stabilised it as best
you can, slowly withdraw from it, breathe deeply and open
your eyes, returning to full physical awareness.

The Second Night

Return to the forsaken mountainside and take a few minutes
to let the landscape stabilise around you. Turn around slowly,
viewing all about you. Now you can see that behind you the
land falls away suddenly into a deep ravine. You can hear
water rushing far below, at the bottom of the cliff walls.

You turn your attention to the hollow that you saw
yesterday and you carefully edge closer to it, looking down
upon the cave entrance. A foul stench issues from it and a
vapour seeps out, clinging and poisonous. It is this venomous
miasma that has rendered the mountainside barren and waste.

You back away from the course of the poisonous
vapour and allow yourself to return to ordinary, everyday
awareness.

The Third Night

You return to the withered mountainside and spend a few
minutes building and stabilising the landscape within your
imagination.

This done, you make your way to a tangle of brittle,
dead trees that stand like twisted skeletons in the wasteland.

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^EGISHJALMUR

You climb up into these and find a knot of creaking branches
in which to conceal yourself. For long moments, there is no
noise nor motion save the sighing of the cold wind and you
find that as you sit motionless, you can become almost
invisible in the grey pallor of this world.

You sit totally still and observe in silence as an
enormous serpent slithers out of the cave in the hollow, a long
and sinuous neck holds a fanged and crested head. The eyes
are deadly, the beast's glance radiating a sense of terror and
maddening horror, bewitching and beguiling all that it gazes
upon. You shrink back, but it does not see you in your hiding
place.

The dragon crawls further out of its hole, a poisonous
fume surrounding it. It propels itself forward on powerful
legs, scaled and clawed, until it reaches the edge of the cliff.
Then it lowers its long neck and forebody over the edge,
clinging on with its rear claws. It drinks greedily from the
rushing waters below and a venomous mist sprays up.

The dragon then pulls itself back up from the ravine
and crawls back into its cave.

You climb down from your hiding place and allow
your eyes to open, relocating your consciousness in your
physical body, thinking about what you have witnessed.

The Fourth Night

You return to the mountainside, but this time there is a weight
in your hand. As the familiar landscape shapes around you,
you realise that you are carrying a heavy sword, perfectly
balanced and razor sharp. A feeling of trepidation sweeps
over you. Tonight you are going to face the Beast. Kneel and
consider the implications of this. Consider what the Beast
means to you. What is embodied in the primal instincts and

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/EGISHJALMUR

ferocity of the Dragon? Spend as long as you need in
meditation on these matters, preparing yourself for what you
must do.

When the time feels right - and it will come upon you
as a deep foreboding, compelling you to follow the mythic
pattern laid out for your feet - rise up and walk to the cliff
edge.

Look down and see the dizzying drop beneath your
feet, the river raging and coiling below, like a serpent in its
own right. Carefully lower yourself over the edge, finding
your feet on a ledge just beneath the lip. Clasp the sword
firmly in both hands, point uppermost, and wait.

Soon you feel the earth shaking as the body of the
Dragon coils across it, clawed feet propelling it along. Terror
almost chokes you as the light is blocked out by the great
head as it reaches over the cliff and curves down before you,
mere inches from you.

You watch the underside of the long neck passing by
until the upper body appears over the cliff edge. Without
hesitation, you allow instinct to guide your hands and strike
upwards hard and deep into the soft underbelly, cutting deep
into the Beast, burying the sword to its hilt.

A great tumult breaks out, the Dragon shrieking and
hissing, spraying a poisonous spume in its agony. It recoils
back over the top of the cliff and throws itself to the ground,
thrashing and coiling. You cling desperately to the ledge as
the earth bucks and shakes beneath its death throes.

Finally all is still and the hoarse, venomous breaths
have silenced. You climb slowly back onto the upper ground
and survey the huge, still body of the Dragon in its ruin.
Overcome with the adrenaline and emotion of this experience,
return to your physical environment and think over what has
transpired.

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^EGISHJALMUR

The Fifth Night

You return again to the withered waste and slowly approach
the still body of the slain Dragon. You marvel at its huge size
and crushing strength and walk around it.

As you pass by the head, you are startled by a
greenish glint between the eyelids. One of the eyes suddenly
opens wide, transfixing you with a paralysing glance. You
stand helplessly rooted to the spot as the Dragon speaks.

"I am Fafnir," it hisses. "I am the Dragon that lurks
in the deep hollows in the dark places of the mind. You have
looked deep within and found me looking back at you, my
power persisting even after death. Ponder that well. What
will become of my power now? Dare you taste the very
heart's blood of me?"

Fafnir will now give you a message that is meant for
you and you alone. It may be a word, a phrase, an image, or a
feeling. Remain staring into the Dragon's eye until you are
certain that you have 'got it'. The eye will then close,
releasing you from its spell.

Let your consciousness return and be grounded in
your body, then record the Dragon's message and consider
what it may mean.

The Sixth Night

You return to the dreary mountainside and the remains of
Fafnir. The Dragon's body is still hot to the touch, its internal
fire not yet faded.

You take your sword and cut deeply into the chest
cavity, removing the enormous heart.

You then gather wood from the dead trees and build a
fire. Squatting beside it, you skewer the heart and begin

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/EGISHJALMUR

roasting it. As the mighty organ cooks, you reflect that this is
that which pumped life and power through the Dragon's
being.

You reach out to see if the heart is cooked yet, but
burn your thumb upon it. You snatch your hand back and
suck your thumb to soothe the pain of the burn. But it
spreads, searing your body and your mind in waves of
blistering heat, the venomous blood of the Serpent, energised
by the fire, coursing now through your own veins,
transforming every cell in your body, every thought in your
mind.

Finally, the pain passes and you fall in a swoon,
allowing your mind to blank for several moments.

When you recover, you feel stronger and more whole
and alive than you have ever done before. You have
assimilated and embodied the qualities and Essence of the
Beast you have overthrown. Part of you now is the Dragon.

Return to your normal mode of consciousness and
your normal place to reflect upon this fact.

The Seventh Night

You return to the slain Dragon, now an empty husk, its
Essence coiling somewhere deep within your own mind,
waiting to be awakened to its full potential.

You decide that it is time to survey some of the
treasure that you have won through your conquest. You make
your way towards the cave in the hollow, descending into its
dark mouth. The lingering fumes and foreboding presence no
longer repel you: you feel a kinship with them.

Inside, you find a great, golden hoard, wealth beyond
imagining. Spend some time visualising the extent of the
Dragon's gold, drawing it into your consciousness.

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^EGISHJALMUR

There are three treasures that you carry forth from the
cave, representing the Dragon's hoard. The first of these is
gold, which brings strife as well as wealth; the second is a
sword, which offers invulnerability to the courageous; the
third is a magic cloak, which brings invisibility, strength and
the power of deception. Think upon these treasures and how
you may harness and use them. They will be discussed more
fully in the chapters that follow, but you should make them
your own first.

A further thing that settles invisibly upon you is the
burden of the Work. You have set foot upon the Draconian
Path which brings riches of body and soul, but this is a
Cursed treasure and it comes with a price. You must keep
ever pushing forward, following your Vision. It was lying
still and failing to progress that led to the Dragon's fate. The
Dragon now in you must not fall by the same mistake.

The Eighth Night

You return to the area outside the cave, where you are hailed
by two ravens sitting on the branch of one of the dead trees.
You can understand the birds' language, one of the powers
you have gained through tasting the Dragon's blood.

They tell you that you have also inherited the Helm of
Awe, the pall of horror and mesmerising power that radiates
from the Dragon's gaze. Operative keys for using the Helm
will be given later, but for now consider its implications for
yourself.

Listen now to what the ravens have to tell you. They
will have a private message for you. Wait and meditate until
you are sure you have grasped it.

The ravens also warn you of the treachery of your
own nature. Your own mental conditioning will rob you of

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^GISHJALMUR

all that you have realised in this place if you do not master it
and overthrow it, establishing a new ordering in your soul of
your own devising. This is symbolised in the mythology by
Reginn.

Go on your way, but be wary and do not forget.

The Ninth Night

On this night, you should sit in quiet contemplation,
considering how the Dragon is subdued by the Hero - the
subconscious, bestial aspect is subdued by conscious Will -
and the two then merge into a single, greater entity: a Hero
with the powers and abilities of the Dragon.

You should now stretch forth with your mind, probing
the Dark potential of the Work to come. You should receive
an inkling that the Hero in turn must surrender himself to the
Divine, becoming something greater and immeasurably more
powerful in the process.

Conclude the Working by swearing aloud an Oath
that you will learn to control and fully develop the Draconian
powers within; that you will always fight for consciousness
against non-consciousness; that you will aspire to the Divine
spark that will elevate you yet higher.

Record this Oath in writing, then close the Working.

55

^EGISHJALMUR

56

^GISHJALMUR

CHAPTER THREE

ESTABLISHING SOVEREIGNTY
IN MIDGARD

The first step in mastering Draconian magic is to achieve a
sound understanding of place: where you are, who you are,
what you can do, and how you came to be here. Thus it is
essential to first learn how to master the physical world and
how to use your own body and its abilities as a magical tool.
This will give you the surest possible foothold in the quest for
Self-transformation. The subject matter of this chapter
resonates with the Work of the first head of the Dragon as
described in Apophis and the two chapters may be used in
conjunction.

This chapter will concern itself with channeling the
runes through the body, using your own physical being as a
magical tool, with posture and breath work. We will examine
the basic structure of reality according to Northern
cosmology. The physical senses will be exercised and
expanded. We will look at genetic heritage, the forces that
shaped our physical presence and its environment and brought
us to where we now stand. We will investigate the controlled

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^EGISHJALMUR

stimulation of the body through such media as alcohol and
sex to achieve different states of consciousness. We will
prepare tools and learn to carve and colour runes. Finally,
this stage of the programme will be concluded with another
major Working.

Stadhagaldr

Stadhagaldr is the process of using the body to channel the
runes. By posing the body in the shape of the runestaves, the
energies of those staves may be generated and used by the
Initiate, expressed through his own flesh, blood and bone. By
assuming several postures in a specific sequence, a fully
developed runic enchantment may be expressed and
actualised.

Such enchantments will become accessible later in the
programme, but first the Initiate must put in the work and
make the adoption of each posture second nature, and must
make a decisive link between the posture and the rune it
represents. Until this identification has become second
nature, the rune streams will not begin to flow. But once
established, a stream of runic energy will begin to emanate
the moment the Initiate assumes a given stance.

When I first began to study the practice of
stadhagaldr, I did so simply because it was part of the runic
curriculum of work I was following. I approached it with the
attitude that I would tick the appropriate boxes and likely
never use the practice again. I was very, very wrong in my
preconceptions. Stadhagaldr is now one of my foremost
means of runic Work. I have found it a tremendously
powerful and vitalising discipline, which will repay the effort
you put into mastering it tenfold. The awareness of the rune

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/EGISHJALMUR

streams when manifesting them in your own flesh, blood and
bone is incomparable and exhilarating.

Each posture should be learned and practised in
sequence, spending sufficient time on each to thoroughly
ingrain it in your physical and associative memory. As you
hold each posture, think over the meaning of the rune as given
in the previous chapter.

f

Both arms are raised at an angle in front of the body, the left
arm higher than the right.

n

Feet together, lean forward and extend the arms down
towards the ground.

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^EGISHJALMUR

Stand upright, the fingers of the left hand touching the left
hip, the elbow jutting sideways.

i

Both arms are extended infron of the body, inclined slightly
downwards, the left arm lower than the right.

k

The fingers of the left hand rest upon the left hip, the elbow
sideways. The left leg is raised sideways from the body.

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/EGISHJALMUR

<

The right arm is raised at a 45° angle, the left arm lowered at
a similar angle.

X

The arms and legs are extended from the body to form the 'X'
shape of the rune.

y

The left hand touches the top of the head, the elbow jutting
sideways from the body.

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^EGISHJALMUR

H

In Futhark, Edred Thorsson presents a posture for hagalaz
which is based upon the alternate form of the runestave. It is
an excellent arrangement and is a miniature ritual in its own
right. However, I have always desired a posture for the rune
which is a single stance to accord with the others when
sequencing several runes together. This posture emulates the
shape of the rune with the two arms representing the two
vertical shafts and the left hand raised to right shoulder
providing the diagonal crossbar.

\

The body forms the shape of the rune as the right arm is
raised sideways at 45° and the left arm is lowered in like
manner.

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/EGISHJALMUR

The body is held straight and erect, arms by sides.

<>

The right arm is angled forward and bent back at the elbow
to touch the top of the head. The left arm is angled back and
bent forward at the elbow to touch the hip.

The arms are stretched forward at 45° from the body and the
right leg is bent back to form the lower hook of the rune.

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^EGISHJALMUR

This is a seated position. The legs are together and the knees
drawn up. The arms are bent forward, the elbows resting on
the knees to form the shape of the rune.

r

6

I

The arms are raised at a 45° angle on each side of the body,
the head forming the third, central arm of the rune.

1

The arms are held straight at the sides. The knees are bent
and the body inclines forward at the waist, forming the rune's
lightning flash shape.

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/EGISHJALMUR

t

The arms are extended out from the sides, pointing
downwards at a 45° angle.

The right arm and leg are kept straight. The left arm is
extended to the left, the hand resting on the hip. The left leg
is likewise extended sideways, the knee bent, with the heel
touching the right ankle.

M

The left arm is raised up and sideways at 45°, the right arm is
lowered to the same degree. This is a mirror image of
nauthiz and is an alternate form of the E-rune.

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^EGISHJALMUR

M

Both arms are raised straight up, then bent at the elbows so
that the forearms cross over the face, each touching its
opposite armpit.

h

i

Both arms are extended forward and down at an angle of 45 c

o

The elbows are pointed sideways and the hands turned back
across the body to touch before the abdomen.

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/EGISHJALMUR

N

<^

The arms are crossed across the breast, the fingers of each
hand touching the opposite shoulder.

£

The arms are raised above the head, elbows bent and
fingertips touching. The legs are splayed.

Through regular practice of these postures, combined with
concentration upon the meanings of the runes they represent,
the Initiate will soon be conscious of embodying the runes in
his very flesh, his body becoming a conduit for runic forces
flowing through him. It should be noted that this is a type of
work where practice will always lead to an improved
experience. No matter how far you advance in the Work, it is
always worthwhile to periodically come back to your
stadhagaldr for a fresh round of practice. This will pay
enormous dividends in your later magical Workings.

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^EGISHJALMUR

Breath Work

Once you have established a good practice routine with the
stadhagaldr postures and have become familiar with them,
you should focus on the proper control of your breath as well
as your posture.

As explained in Apophis, there are three main benefits
to breath work, applied in three distinct areas, as follows:

• Establishing a steady and regular rhythm of deep breathing
will assist the body to relax, easing tensions. This assists
greatly with posture work and generally leaves the mind
freer and less distracted, to focus upon matters magical.

• Because the patterns of breath used in our work tend to be
deeper and longer than the shallow breaths we normally
take, they lead to a greater level of oxygenation of the
blood. This causes various chemical changes in the body.
The extremities tend to become warm and slightly numb
and minor irritations and itches are generally lessened.
The enriched blood supply to the brain also boosts
concentration on the mental aspects of magical Work.

• Practice with breathing techniques and the proper
balancing of inhalation and exhalation is of tremendous
assistance in the rune-singing exercises and other vocal /
incantatory magical Work, which will be introduced in the
next chapter and will form a major part of your galdorcraft
thereafter.

The simplest, most basic rhythm to begin with is to breath in
to the count of four, hold the breath in the lungs to the count
of four, breathe out to the count of four, hold the lungs empty
to the count of four, then repeat the sequence.

As Initiates become more practised, it may prove

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/EGISHJALMUR

helpful to extend the duration of each breath cycle, deepening
and lengthening the respiration still further.

For rune-singing and other vocal magic, practise a
rhythm such as the following and accustom your body to it:
breathe in to the count of four; hold your breath for the count
of two; exhale to the count of eight; then immediately inhale,
repeating the sequence. This kind of rhythm will allow you to
fill your lungs with air, 'charge' the air with vitality, then
chant or intone on the lengthier outbreath, without fear of
running out of puff. Practice here will pay great dividends
later.

Nine Worlds

The Work of this first chapter is concerned with the body and
the world in which it finds itself. The mortal world of
physical manifestation is called Midgard in Northern lore, but
it is only one - albeit the central one, into which the others
pour their influence - in a system of nine worlds spanning
multiple dimensions. These worlds are collectively arranged
in a structure like a cosmic tree, named Yggdrasil. Although
we are currently focused upon Midgard, it is important to
understand its place in the larger framework. Accustomising
yourself to the ideas of all nine worlds now will prove helpful
in later chapters, when consciousness can be projected further
afield to explore the world-tree.

An ilustration of the worlds on the Yggdrasil
framework is on the following page. This has been scanned
from a full colour painting by the author. Sadly, the colours
are not reproducible here, but every Initiate will benefit
greatly in understanding the worlds if they study the
attributions and paint their own Yggdrasil.

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^EGISHJALMUR

Asgard

Ljossalfheim

Vanaheim

Niflheim

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/EGISHJALMUR

A brief description of each world follows. These
should be supplemented from other, more detailed sources,
and most especially from the Eddas and the mythology.

Asgard

This is the enclosure of the Gods, where Odin has his great
hall, Valhalla. In terms of the psyche, Asgard is the abode of
the pure spark of consciousness, the bright flame of Self.

Ljossalfheim

This is the realm of the bright elves, masters of lore and
wisdom. It is a place of ecstatic inspiration. Some ancestral
secrets may be discovered from the dwellers here.

Midgard

This is the world of earthly manifestation, into which the
influences from the other eight worlds pour. It is thus the
realm of potential, a melting plot where Will and passion may
lead to Becoming.

Svartalfheim

The realm of the dark elves, or dwarfs. A land which fosters
cunning and intricate craftsmanship and invention.
Frequently linked with subterranean places.

Hel

The realm of the dead, ruled over by the Goddess of the same
name, daughter of Loki. A place of cold mists and gloom,
shadows and memories.

Vanaheim

The land of the Vanir, the race of Gods responsible for the

cycles of nature. As such, it is a green and fertile land, the

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^EGISHJALMUR

plentiful ideal of any people who live in harmony with their
environment and rely on its regular patterns and cycles for
their survival.

Jotunheim

This is the land of the giants, the etins. In the Norse myths,
these beings - descendents of Ymir - are often portrayed as
enemies of the JEsir, and of Thor in particular. Yet Odin will
occasionally seek knowledge and wisdom from one of their
kind. These are monolithic forces of resistance, the opposite
of consciousness and Initiation, yet because of their great age
they may harbour some forgotten wisdom or insight that
needs to be won from them by guile.

Niflheim

This world is one of the two great poles of Northern creation
myth. This is a place of ice and contraction. The further one
progresses into Niflheim, the more cold, compacted and
massive it becomes. The heart of Niflheim is at Absolute
Zero, possessing zero energy, a solid mass in which all
vibration has ceased.

Muspellsheim

This is the polar opposite to Niflheim. It is a world of heat
and fire, an expansive force of furiously vibrating energy and
escalating heat. A cosmic furnace, ever rushing outwards.

These are basic descriptions of the general character of the
nine worlds. Some will be returned to later in this book when
it will be necessary to take a more detailed at certain
specialised areas. But in the meantime, the student should
consult the reading list and seek out fuller descriptions in the
mythology and in books more suited to a general runic study.

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/EGISHJALMUR

Enhanced Sensory Perception

Part of the Work of the first head of Apophis is to seek to
sharpen and enhance the information received by our
consciousness from the five physical senses, the goal being to
circumvent the filters and preconditioning that edits most of
the data we receive from the world.

A full discussion on possible exercises for this
purpose can be found in Apophis, so I will just briefly recap
here.

The Initiate should determinedly exercise a given
sense one day per week. For instance, you may decide that
monday is for sight, tuesday for hearing, Wednesday for
touch, thursday for smell and friday for taste, with the
weekend reserved as free days.

Then every monday you would concentrate hard on
everything you see. Take in every detail and deliberately
make a mental note of it. Our brains normally filter out 90%
of what our eyes perceive, so you need to retrain your brain
that you are interested in everything. Register every last
detail, look at everything. Do the same for the other senses
on their respective days.

This will benefit you in three ways: it will make you
more alert; it will allow you to notice things of interest to you
that you would otherwise have missed; most importantly, it
will help in establishing better communications between your
conscious and subconscious minds.

The Call to the Ancestors

Now that the student has familiarised himself with the runes,
both on an intellectual level and by manifesting them in his

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own body, and now that he has started to familiarise himself
with the various worlds and is taking better notice of the
messages of his own senses, he needs to make a solid
connection with his roots. It is time for another ritual to
formalise the current state of the Work.

The Working is intended to form a psychic link
between the Initiate and the shades of his ancestors, so that
their influence and guidance may assist him as he progresses
in the Work, passing their accumulated wisdom on to him. If
you are not of Northern genetic stock, this Working will be
less direct and more difficult for you, but you should still
carry it out, requesting assistance from the shades of the
North in general rather than familial terms.

This Working can be carried out either outdoors or
indoors. Which you choose will depend upon your
circumstances. If you are live in an area where your ancestors
are buried, you should ideally opt for the outdoor version. If
you live in a large city or have moved far away from home,
the indoor version will probably be more appropriate.

1 . First, you need to prepare your place of Working. If you
are doing the outdoor rite, travel to the oldest burial place
of your ancestors that you can find. At a suitably quiet
time of night, when there is little risk of disturbance, find a
spot in the graveyard that 'feels right' to you. If you are
Working indoors, sit down in a quiet room where you will
not be disturbed. Make sure the phone is off the hook. On
a table before you, you should arrange mementoes of your
ancestors, such as old photographs, letters, a family tree,
plus copies or pictures of any historical runic inscriptions
or other sacred objects specifically linked with your place
of origin.

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2. Next, attune yourself to the rune work you have
accomplished so far. Assume each rune posture in correct
sequence whilst speaking the name of the rune and
reflecting upon its qualities. Feel the runes permeating
your own being, the place in which you stand, and the
ancestors buried there or represented in the items you have
gathered.

3. Assume the eihwaz posture and try to reach back in time
with your mind. Feel the months, years and ages rolling by
as you plunge your mind back to its very ancestral roots.

4. Once you feel you have established a resonance with your
ancestors, switch smoothly to the elhaz posture, extending
your arms upwards.

5. Recite the following invocation: "I, <speak your first
names>, of the line of <speak the surnames of both your
parents>, do call upon my ancestors to bear witness to my
Oath and to lend their assistance to my Work. I solemnly
swear that I will strive to Remanifest the lore and the
magical heritage of our people and that by exalting my
consciousness I shall exalt also the memory and the future
potential of my folk. Aid me and strengthen me in this
endeavour, encouraging me when I falter, driving me back
onto my feet when I fall. Let the valour and the wisdom of
my forefathers be reborn in and through me. Open my
eyes, that I may see outside the constricting bonds of
time. "

6. Now shift to the hagalaz posture, crystallising this
ancestral bond within your psychic framework.

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7. Once again, adopt the posture of each rune in proper
sequence, naming each as you go. This time, imagine each
rune streaming back in time and extending forth into the
future as you do so, with you at the pivotal point of Now.

8. Finally, pack away your things, clap your hands or stamp
your feet to ground yourself, then depart from the Working
area.

Of Elf and Dwarf

There are other beings in Northern mythology who abide
close to Midgard and who may be called upon at this stage to
assist the Initiate in his Work. These are specifically the
elves of Ljossalfheim and the dwarfs of Svartalfheim.

Before proceeding with a Working to call upon these
entities, I would recommend a close study of the mythological
material concerning them. In general, the elves are wise
advisors and the dwarfs are expert craftsmen. Both will prove
invaluable in the Work that lies ahead. Invoking the elves
will assist you to imprint your mind with the thought patterns
of the rune streams. Invoking the dwarfs will assist you to
exteriorise those streams with skill as you craft your own
staves and artifacts.

Edred Thorsson's books offer well-crafted, traditional
rituals suitable for this purpose, although it is permissible to
build up to these and start with a simplified Working such as
the ancestral one given above. But be aware that a sacrifice
should be made to the wights. Traditionally, this is mead or
ale. A cup or horn of inspirational ale should be offered at
the peak of the rite. Half is drunk by the Initiate; the other
half is spilled upon the ground for the wights. (If working

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indoors, it may be spilled into a bowl and taken outside and
poured on the ground after the conclusion of the Working).

Use this period to seek your inspiration in the myths
of elves and dwarfs and try to advance your ritual skills till
you are practising the fuller rites described in Edred
Thorsson's books.

Combat Readiness

It is important that the Initiate should take stock of himself at
this stage and assess his general state of physical fitness. It
should never be forgotten that we are warriors in an Invisible
War, the struggle of consciousness against non-consciousness
and we must ensure that we are combat ready at all times.

Although this War is largely a mental and psychic
one, it nevertheless makes its demands upon the body. As the
Work of this chapter focuses upon the magician in Midgard, it
is appropriate that we take steps to improve our physical well-
being at this early stage of the Work.

I am certainly not going to suggest that everyone
needs to be an athlete. We all love our little indulgences, but
it is imperative to note Anton LaVey's advice that these
should not become compulsions. If you get too overweight,
cut down on your eating. Don't bother with faddy diets,
simply eat less. Take regular exercise. You don't need to jog
or lift weights or anything like that. Regular, brisk walks will
do. Make sure that you get enough sleep. Simple things like
these will ensure that you can rely on your body when you
need to push it to its limits.

This is as much a matter of Will as any other magical
operation and if you can't manage this control of your own
self, how do you expect to influence the rest of the world?

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Alcohol as a Sacrament

Whether you drink alcohol or not, there is no shred of doubt
that our forefathers did and with good style. Alcohol was not
merely a thirst-quencher or a social catalyst, however,
(although it certainly served a very important role in social
occasions, bonding warrior-bands together at feasts). It was
also a religious sacrament.

Alcohol (traditionally ale or mead) serves two
functions in Northern spirituality. It removes the brain's usual
inhibitory blinkers sufficiently to allow divine inspiration to
flow through the Initiate from the Gods. In return, half the
measure is poured upon the bare earth as a sacrificial offering.
So the drink serves as a two-way exchange between Man and
his Gods. This principle is expressed in the fr h n ALU
Formula, which is described fully in Edred Thorsson's
Futhark.

It may seem unwise to recommend the use of alcohol
in a time when most medical practitioners and government
bodies are taking the moral high ground against it.
Personally, I feel that's one of the biggest reasons for its use:
if politicians don't want you to have something, seize it with
both hands. Regardless of all of this, I have no patience for
political correctness. I also have no patience for drunken
louts, but I firmly believe in LaVey's principle of
responsibility to the responsible. If you can't handle your
drink, that's your own problem as are the consequences.

I really can't recommend the substitution of a non-
alcoholic sacrifice in Northern rites. It misses the point of the
inspirational effect and the link with past tradition. If you
insist upon being teetotal in this sacred matter, make sure you
examine your own motives carefully and determine why this
may be. The indoctrination of centuries of Christianity

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lingers with us all, even those of us who profess otherwise.
Drink to your Gods with pride!

There does remain a cautionary note to make, of
course. Even given my above insistence, it's nobody's
business but your own if you choose to be teetotal in mundane
life. I acknowledge that not everyone is as fond of a good
single malt as I am. Similarly, if you choose to drink to
excess during mundane life, that's none of my business either.
Although I must remark that I still hold to that principle of
'responsibility to the responsible'. As far as I'm concerned,
violence or criminal damage committed under the influence of
alcohol is evidence of the weakness and lack of self-control of
the perpetrator. In such a case, alcohol is not a mitigating
factor in my eyes, but an aggravating one.

Alcohol is a magical tool and it's in this respect that
I'm pushing it. Its use or abuse in any other context is entirely
your own concern and entirely your own fault.

When used in ritual, you will soon come to recognise
that precise point of balance when you have drunk enough to
feel your mind beginning to flame with inspiration as your
inhibitions fall away. Any more at this point will simply tip
you over into drunkeness, which is worse than useless.

If alcohol seems a risky and dangerous tool to
recommend in our current nanny state, that's tough. Magic is a
risky and dangerous business and it gets a lot dodgier than
this. Take it or leave it, always at your own risk.

Of course, if you are a recovering alcoholic, I
certainly can't recommend the above course to you and you
should substitute a different liquid accordingly. In your case,
your Will and determination are best exercised in overcoming
your addiction. My words above are directed at the inhibited
and the vacillating, who still echo Christian abstention and
guilt.

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Sex as a Sacrament

Whilst we're on the subject of bodycentric magical
techniques, we can't ignore the huge topic of sex magic. Sex
and magic have always been linked, and often equated. In
Peter Grey's The Red Goddess, we read, 'Sex is magick,
magick is sex.' I wouldn't go so far as to identify them with
each other myself, but I would certainly amend the quotation
slightly to read, 'Sex is magical, magic is sexual.' That much
at the very least is true.

We need to consider whether sexual practices were
traditionally a part of Northern magic and whether they can or
should be so today. We also need to consider sex in the field
of Draconian magic in particular.

It is quite apparent from the accounts we have in the
sagas and mythology, both explicit and inferred, that the
practice of rune magic - galdor - is a function of sound,
shape and number, with no overt sexual element in its
working. The runes are chanted, or carved, they are not cast
in a framework involving any sex act.

It is equally apparent that the more trance-oriented
seith magic, that style of magic which was taught by Freyja,
could incorporate sexual elements. Sexual activity is
certainly one effective way of entering a trance state. This
kind of activity was often viewed as shameful for males to
indulge in as it could include role reversal, cross dressing and
submissive sexual relations. Nevertheless, it must be
remembered that Odin learned this art from Freyja in order to
complete His own magical arsenal.

However, I must point out one major misconception
with sex magic at this point since anyone who investigates the
subject is bound to stumble across this error, which is
reported as factual in so many places.

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You will read that a practitioner of sexual magic must
dissociate himself from any sense of enjoyment in the
experience and that the feelings of pleasure are but a
distraction. This is complete and total bullshit, a puerile
whitewashing devised by minds steeped in guilt, cowering
from the reality of that which they profess. I read and heeded
this nonsense for ages, but couldn't reconcile the idea in my
head. Sex is supposed to be enjoyable! That's the whole
point of it!

Let's get this absolutely straight: sex is an exercise in
the fulfilment of Desire. Sex is all about pleasure and the
exchange of delights. Whatever power, symbolic or actual, it
may afford the magician, is derived from these very qualities.
By the time you reach the stage in a Working where it is
actually time to engage in love play and passion, your
statement of intent should have already been made, your sigils
drawn, your invocations chanted. Now is the time to let your
conscious focus fade away in the heat of your passion and
ecstasy. The greater the pleasure, the more powerful the rite.
And that, despite all pious protestations to the contrary, is the
be all and end all of sex magic. Snarl, stroke, kiss, bite,
writhe and rut until you're exhausted, lost in ecstasy and
delight. All of this will feed into the magical framework you
have already established beforehand.

Bearing the above in mind, feel free to explore the
theory and practice of sex magic at this stage, but do bear in
mind that there is little room for it as a technique in the
practice of rune galdor. You may be able to apply it in some
of the practices described later in the curriculum, however,
which are more akin to seith. In these more visionary
Workings, where the intuition of impressions rather than the
sending of a direct charge is the issue, sex can be used as a
technique for inducing a suitable trance state, though it is

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certainly not the only means. The act of sex is not essential to
this current plan of Work, I personally prefer a more cold-
blooded and spartan method of working, although Desire is
certainly an absolute necessity.

The Tools of Runework

During the Work of this initial chapter, when we are focusing
upon the basis of magical practice in the physical world, you
will want to take time to find or make your tools for the more
complex ritual Work which will follow in later chapters. You
may possess some of these items already; others you will need
to make or purchase.

You will need a table or a work surface. When you
are first starting out, you can make do with a coffee table or a
workbench in your garage or shed. It is better to proceed with
makeshift tools initially than to put off the Work until
everything is perfect. Doing the Work - in spite of whatever
circumstances you may find yourself in - is the only real Key
to success. But as soon as you are able, you should invest in a
table or work surface that will be used for your runecraft
alone. By dedicating it to the Work and using it solely for
that purpose, its very substance will become imbued with
your purpose. Over time this will add an extra boost of
cumulative force to everything you do upon it. You might
wish to find an intricately carved old table in an antique shop;
you might set aside an ordinary coffee table for use; you
might use your woodworking skills to make your own. Do
whatever best suits your skill and circumstances, what feels
right to you. In all cases you should dedicate the table to its
purpose with a simple ritual of your own devising. You may
wish to cover it with a cloth (black, white or red according to

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your aesthetic) when not in use.

You will need a lamp or candle to signify the Flame
of individual consciousness, the Gift of Odin. The lighting of
this Flame in a ritual asserts your identity as a free and unique
being acting by your own Will. In Draconian magic, this
lamp / candle should be either black or red.

You will need a cup, chalice or drinking horn to hold
the ale or mead used in ritual Workings. Anyone reading this
book will necessarily have access to the internet and if you
have access to the internet, you'll be able to source a perfectly
suitable drinking vessel. Most occult suppliers sell horns or
chalices in their online stores and there are many fine
examples, featuring serpent or dragon motifs that are suitable
for Draconian Work. You will also obviously need the liquid
with which to fill it.

You will need a knife. The traditional dagger or
athame of most occult traditions will not do in this case. I am
not speaking of a ceremonial symbol, but of a practical tool, a
blade with which runes can be carved into wood. The best
solution is a simple, good quality craft knife, available from
most tool stores. Function is more important than form in this
instance.

You will then need your set of personally carved
runes, used for divinatory purposes. We will discuss the
creation of these in the next section. It is permissible to use a
commercially produced rune set until your own are ready, but
the sooner you can begin working with runes carved and
charged by your own hand, enlivened by your own essence,
the better.

If you plan to seriously Work within the Draconian
field, you should have a representation of the Seal of the
Order of Apep to hand (illustrated overleaf). This can be a
representation of the Seal hanging upon the wall or positioned

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upon your work surface, or you may prefer to wear it as a
pendant, pin or ring (preferably silver if used as jewellery).

Those are the basic tools that will be needed in all
cases. Others may be added to suit personal aesthetic tastes.
Some like to wear special robes or ritual clothing; some like
to have all manner of useful or artistically appealing
paraphernalia about their working area. But these things are
up to you; the essentials are described above.

Carving Your Rune Set

During the course of this chapter's Work, whilst you are
seeking to physically ground yourself in the runic current, you
will want to carve your own set of twenty four runes for use
in the divinatory and meditational Work which will come
later.

You will need your knife and twenty four slivers of
wood. You may wish to really go to town and cut or gather
the wood to be used yourself, cutting it down to size and
sanding until each piece is the same shape and size. There
would be definite benefits in doing this, but I won't hold
anyone to this procedure as it requires a lot of time and
patience and a very skilled touch. It is perhaps something to
aspire to in the long term rather than when making your first

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set. I have found craft sticks to be admirably suited for the
purpose.

You may prefer to carve a few runes at a time,
perhaps in three groups of eight, or you might wish to carve
them all at once. In either case, they should be carved in the
correct order, as given in the 'Dragon Runes' chapter.

Take your time and hold the stave firmly down with
your left hand (assuming you are right-handed; reverse if you
are left-handed) and hold the knife steadily in your right hand.
Use it as if it was a pen, firmly and cleanly scoring the lines
of the rune. Angle the knife slightly differently on successive
cuts and you will make a groove, twisting out the excess
wood. With a little patience - and practice if necessary - you
will soon have cut nice, deep runes into your staves. As you
cut each rune, whisper its name repeatedly under your breath,
or chant one of the traditional rune poems relating to it (these
can be found in Stephen Flowers' The Rune Poems, Vol. 1 and
other sources in the Reading List). Concentrate on the rune's
meaning.

The next stage is to colour your runes. Traditionally,
the runes are coloured red, with the runer's own blood, but in
practice a reddish pigment was often used as a substitute.
The use of blood is very important, as your own vital fluid
creates a tangible and very powerful link between you and
your runes. But you don't need much. Buy a tub of bright red
poster paint and mix just a few drops of your blood into it.
This will be a perfectly sufficient quantity to establish the
magical link. Then take a very fine paintbrush and fill the
lines of the runes you have carved with the magically charged
vital fluid. You should focus upon the fact that you are filling
the runes with your own blood, giving them life and vitality.

There is no need to cut yourself specifically for the
purpose; it is never a pleasant thing to do and everyone

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suffers an accidental cut on occasion. Carry the pot of paint
with you, and the next time you bleed due to a small
accidental injury, add a couple of drops to it then. Some
people would argue that the pain is a part of the magic and
this is certainly a defensible position, but I personally hold
that your blood is link enough in its own right, no matter how
acquired.

Ladies, of course, will find that menstrual blood does
the job very nicely indeed. Indeed, most sex magical
traditions would say that menstrual blood is superior in many
ways to ordinary blood.

Once your runes have been carved and coloured, put
them in box or a bag with a drawstring for safe keeping. They
are already powerful talismans as a consequence of the work
you have put into them. Their charging will be completed
during the Work of the next chapter.

A Vigil

We are going to close the Work of this chapter with another
ritual Working.

The actual mechanics of this one are simple in the
extreme. One evening, at the close of this chapter's Work,
when all has been accomplished to your satisfaction, take
yourself off to an outdoors place in natural surroundings that
means something to you, that 'speaks' to you in some way. If
you live in a city, you may have to make advance plans and
scout a suitable area in advance. Bring warm clothing, a flask
and a snack if you feel you may need it.

Find a place to sit and relax. Here, in this special
place, feel anew your connection to the place which is
Midgard. Spend time reflecting upon all that you have done

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during the course of this first chapter's Work. Refresh your
memory of the rune meanings, holding and studying each of
your own hand-carved runes as you do so. Practice your
stadhagaldr postures, feeling again the flow of the rune
streams through your own body. Try to sense those same
streams flowing through the landscape around you, radiating
through both the inner and outer worlds.

Remain in this place throughout the night, sensing the
changes in the land and the atmosphere - and yourself - as
dusk turns to dark and ultimately approaches dawn. Renew
your reflections and introspections on the runes each hour;
refresh yourself as needed; walk about if you get cold or
cramped.

As the sun rises over the horizon, become aware that
the sun of ancestral lore is rising in your own soul. Promise
yourself that you will apply your mind to this awakening and
be illuminated by it. Swear that you will take the steps
necessary to develop and enhance your mind's abilities to this
end.

Finally, go home and catch up on your sleep, knowing
that you are now ready to commence the Work of the fourth
chapter.

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CHAPTER FOUR

MASTERY OF THE MIND

Huginn and Muninn

The Work of this fourth chapter will focus upon the
development of the Initiate's mental faculties. We will be
striving to create a harmonious synthesis of the various
aspects that make up the mind-soul complex, enabling
consciousness to operate at maximum efficiency and
wakefulness. We will be sharpening both perception and
Will, so that the magician can sense and direct the runic
streams with skill and precision. This mental training should
mesh perfectly with the physical facility gained through the
previous chapter. For those readers who are already familiar
with the Draconian curriculum of Apophis, this present
chapter is cognate with the Work of the second head of the
Dragon: the Thunderbolt.

In Norse mythology, Odin had two ravens, named
Huginn and Muninn, who flew out over the worlds each day
and then returned to Him, bringing word of all that they had

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seen. The names of these ravens are derived from parts of the
Norse model of the soul, which we will be examining more
fully in the next section of this chapter. Huginn is related to
the hugh and Muninn to the myne.

The hugh is the intellect, the reasoning faculty within
the soul, and myne is the memory and the pattern-making,
imaginative part of the mind. They basically represent left-
brain and right-brain consciousness respectively. So in effect,
Odin sends forth His own consciousness in the form of
ravens, to gather news and insights and report back to Him.

The intention of this chapter is to train our own two
ravens (hemispheres of the brain) to be equally useful and to
work equally well together. This phase of the Work is all
about the balancing and focusing of consciousness, so that it
can be used as a ladder to higher states later on.

The Structure of the Soul

In Apophis, the Celtic model of the soul was discussed as an
example of the sophisticated way in which our forebears
understood the composition of their own beings. In this
present volume, we will naturally be examining the Germanic
model of the soul. This is actually very similar to the Celtic
model in many respects, which is unsurprising given the
similarities and occasional cross-pollination between the two
cultures.

The parts of the Germanic soul model are as follows:

Lvke : (Old Norse UK)

The lyke is the physical body itself. This may seem a strange
place to start when considering the soul, but the philosophy of
our Northern ancestors quite sensibly postulates that mankind

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is meant to be a complete being, with physical, mental and
spiritual faculties all interdependent and equally important.
The body is as much a part of the initiatory experience as the
most exalted state of Divine inspiration. The Work of the
previous chapter should have taught you that.

Hyde : (Old Norse hamr)

The lyke is permeated by the hyde, which is the medium
which gives shape and form to the person. It governs not only
how we look, but our mannerisms and the way in which we
present ourselves. A good actor will use his hyde to
transform himself completely, seemingly becoming a new
person in his role. Is it a coincidence that Robert Louis
Stevenson named Dr Jekyll's alter-ego Mr Hyde in his classic
tale? Perhaps he knew the term, perhaps not, but this account
of transformation is certainly a good indicator of the shaping
power of the hyde upon the appearance and aspect.

A them : (Old Norse ond)

The athem is literally the breath of life, the animating
principle that courses through the lyke and hyde, keeping the
organism living and breathing. It is not simply the automated
systems that govern the vital processes, it is also something
beyond the purely physical, a kind of life force which vibrates
within the individual. But it also extends beyond the
individual, resonating with the life principle on a
macrocosmic level. As such, it is one of the avenues whereby
psychic impulses may be transmitted or received. Anyone
who has been present when someone has died will know by
personal experience that there is a world of difference
between a live body and a dead one and this difference is
noticeable immediately. This difference is the athem.

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Hugh : (Old Norse hugr)

This is the part of the soul symbolised by one of Odin's
ravens, Huginn. The hugh is the analytical, computational
part of the mind, skilled at linguistics and mathematics. It
basically comprises the left-brain functions of mental activity.

Myne : (Old Norse minni)

The myne is the reflective, imaginative part of consciousness,
that part which communicates through images and intuitions
rather than words. As such, it governs dreams and memories
(including the archetypal memories that reside within the
collective unconscious). It corresponds with Odin's other
raven, Muninn.

Wode : (Old Norse odhr)

Huginn and Muninn report to Odin and the hugh and myne
report to that part of consciousness which is akin to Odin: the
wode. Wode is a condition of accelerated, intensified
consciousness, a Divine inspiration, a kind of ecstasy or even
rage in which the contents of the mind are illuminated by
magical perception and insight. This is the state of mind
which is necessary for the effective working of magic or the
interpretation of divinations. It will be evident that the wode-
state of consciousness is most easily and effectively accessed
when the hugh and myne are working in harmony, the two
ravens advising the inspired self in a balanced fashion.

Fetch : (Old Norse fylgja)

The fetch surrounds and touches the other parts of the soul,
but is not itself a part or a possession of the individual. It is
an essence which is transpersonal, spanning generations. The
fetch may appear to a person in three forms: (a) as an animal;
(b) as an entity of the opposite sex; (c) as a geometric shape.

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Some people have very little awareness of their fetch at all. It
is possible that some people simply do not have a fetch, or
else a very undeveloped one. The fetch is a tutelary entity,
linked to an individual for that lifetime, which responds to
and reflects his actions and the destiny which he shapes for
himself, offering guidance as appropriate. It is similar to -
though not identical with - the Holy Guardian Angel of some
occult traditions. It can bestow both gifts and obligations
along with its guidance.

Luck : (Old Norse hamingja)

To our ancestors, luck was not a random thing, it was a
positive and active virtue within the soul. This is the
recognition that when an individual acts with Will, Passion
and Vision, his luck will effect an influence upon the world
around him, bending it to tend towards the fulfilment of his
goals. Events will seem to simply fall into place when this
faculty is exercised and that which was previously difficult
may be achieved through determination. Heroes would often
deliberately test their luck through the casting of lots and
gambling.

Soul : (Old Norse sat)

The soul itself is the name given to the shade of the deceased,
which departs to one of worlds of the dead, there to await
rebirth in Midgard in due course.

The Wode-Self :

The Wode-Self is a state of consciousness aspired to by the
Initiate of the Northern Mysteries. It occurs when the wode,
hugh and myne are aligned in perfect balance within an
individual and the entire intelligence is illuminated by the
influx of Divine consciousness. This state of being will be

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discussed in some detail in a later chapter. The ability of the
Initiate to attain and maintain this state of consciousness is
essential to the process of opening the Eye in the Void and
reaching the pinnacle of Draconian Initiation.

Thought Control

Before progressing with the more specialised Work of this
chapter, it is essential to first gain some facility with basic
techniques of thought control.

Full exercises toward achieving this goal are
presented in Apophis under the Work of the second head. The
Initiate should basically take some time practising the
following before progressing further:

• Sit in a comfortable posture and monitor all of your
thoughts as they arise. Do not try to analyse or shape
them, simply observe and follow them. Take note of how
thoughts react when subjected to conscious observation in
this manner.

• Choose one particular thought and follow it to the
exclusion of all others, till it finally comes to its
conclusion.

• Observe your mind and stamp out each and every thought
as it arises, crushing them and allowing them to progress
no further. The object is to empty the mind of thought, yet
remain expectant and watchful.

Concentration Exercises

Having established a degree of control over the basic thought

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processes, the Initiate should spend some time practising the
following exercise in order to sharpen his powers of
concentration before proceeding further with the Work of this
chapter.

First, select an item upon which to concentrate. It
shouldn't be anything too complicated, but may be a mark on
a wall, a shape drawn on a piece of paper, or a small object
such as a nail or a spoon. It should not be something which
possesses any particular symbolic significance.

The purpose of the exercise is simply to focus your
attention rigidly upon the object you have selected and
concentrate upon it. Every time your mind wanders or your
thoughts waver, bring them back to the task in hand by an act
of Will. Your experience of monitoring and controlling your
thoughts in the previous exercise should prove of great value
to you here.

Be aware that the object of this training is to improve
your concentration through practice. You have not 'failed' if
your mind continually wanders. Instead, you succeed every
time you notice that it is wandering and call it back to heel.
This will, over time, establish a mental habit of improved
concentration which will pay enormous dividends in your
galdor Work.

Basic Principles of Rune Galdor

The techniques learned in this chapter will enable the Initiate
to begin the practice of operative Draconian magic using the
techniques of galdor. The precise ways of getting the most
out of your runic sorcery will be explained step by step in the
sections that follow, but first it is advisable to gain a basic
understanding of what galdor entails and how the runer

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employs it.

Through long practice (which began with the
stadhagaldr exercises in the previous chapter), the Initiate
establishes a familiarity with the runes and learns to recognise
and direct their influence. This process of invoking and
'steering' the runes toward a Willed end involves the
combination of four qualities. Galdor is a technical skill,
which relies for efficacy upon the correct combination of
these factors by the operator:

Shape :

The Initiate must carefully formulate and focus upon the
shape of every rune used in his casting. This may be done by
assuming the runic posture given in the last chapter; by
drawing the rune boldly on paper; by carving the rune on
wood in the form of a taufr (a talisman); by strongly
visualising the rune; or by any combination of these.

Sound :

The word 'galdor' means something akin to 'whispering' or
'croaking' and sound is key to the runic Mysteries. Every rune
used must be clearly uttered, its key sound seemingly rolling
from the Initiate's vocal chords out to the far corners of the
cosmos. The rune songs discussed shortly provide the fullest
method of summoning the runic stream through incantation.

Number :

Each rune has its number, from 1 (fehu) to 24 (othila). When
runes are used in combination, their numbers are added
together to give an overall number for the formula of the
spell. The number of actual runestaves employed in a given
formula is also significant. Runic number lore is too huge
and complex a field to be adequately explained in this present

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^GISHJALMUR

volume, but the Initiate should at least be aware that numbers
are significant and should take the time to research the subject
in the books suggested in the Reading List.

Will :

The final element in the practice of galdor is the Will of the
magician, which binds these factors together, energising them
and sending them on their way. What is Will? I am not
talking about simply thinking hard about your goal in the
vague hope that it will happen. Will is a combination of three
elements: Vision (seeing the need and the opportunity for
change); Passion (having a genuine Desire for the stated
result that is ardent enough to fuel the magic); Precision
(possessing the lore and knowledge of the runes necessary to
communicate that Desire to the magical realms).

Bearing these factors in mind will assist the Initiate to place
the remaining exercises of this chapter in perspective and
understand how the various practices fit together to form a
single magical key.

Runic Visualisation

The first exercise is related to the shape of the runestaves.
Taking one rune each day, in proper sequence, the Initiate
should spend several minutes visualising the form of the rune
in fiery red lines within his imagination. The image should be
held steady and strong for as long as possible, without
wavering or altering its shape or proportions. The imagined
rune should ultimately be vivid enough that the Initiate sees it
clearly superimposed over his ordinary vision of the real
world should his eyes be open.

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^EGISHJALMUR

When all twenty four staves have been visualised in
this manner, go back to fehu and start over again. Keep this
practice up until your visualisations are perfect.

The Initiate may then extend his practice to include
the act of forcefully drawing the shapes of the runes in the air
with his extended forefinger, feeling the rune stream flow
through his body, along his arm and out into the world. The
visualised rune should be clearly visible to the inner eye,
traced upon the fabric of reality.

The Initiate should keep up this practice until his
visualisations superimpose themselves upon ordinary vision
and are self-sustaining (i.e. once he has traced a shape in the
air, his subconscious has become accustomed to maintaining
the visualisation whilst his conscious mind busies itself with
other things).

Runic Meditation

The basic meanings of the runes in terms of Draconian magic
were introduced in the chapter three, but the Initiate should
supplement this knowledge by reading as much on the runes
and their meanings from reputable sources as he can, both
academic and magical. The runic trilogy of Edred Thorsson
(Futhark, Runelore and At the Well of Wyrd) should be
studied at the very least.

Armed with this knowledge, the Initiate needs to set
aside some time each day meditating upon the runes. Start
out with about ten minutes per day, building up to twenty. As
with the visualisation exercises, take each rune per day in
turn, in their proper sequence, then return to the beginning
and start again when you have worked through the full twenty
four.

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You should begin these meditation sessions by sitting
comfortably and bringing the rune's shape and sound to mind
(you may wish to have a drawing or other representation of
the rune before you to focus upon). Remind yourself of the
things you know about the rune, its meanings and symbolism.
Then let your thoughts circle around the concept of the rune,
seeing where it may lead you, what connections it may make,
what new realisations it may awaken. How does the rune
speak to your own mind? By following these steps, you will
discover the rune streams that run within your own being and
you will bring the rune to life within you.

You should be aware that you will need to complete
many cycles through the runes, revisiting each one in
meditation many times, before you will begin to fully reap the
rewards of this practice. Also, be sure to write down all of
your thoughts and insights after each meditation session,
because if you do not, you will forget them and lose what you
have gained. Your diary will become increasingly important
to you the more you use it, the best book of magic you will
ever own.

Rune Singing

Once you have established a couple of cycles of runic
meditation, you can expand your daily exercises by adding the
practice of rune singing, learning the sonic secrets of the
runes and the techniques of invocation by sound and breath.

As in the previous exercises, you should concentrate
upon one rune per day, working through all twenty four in
sequence, then returning to the beginning for a fresh cycle of
practice. During each practice session you should sing the
rune song for as long as you feel comfortable, but for a

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^EGISHJALMUR

minimum of nine repetitions for the initial two or three cycles
of practice.

How you choose to sing each rune is to some extent
flexible according to your preference, although you must
make sure in all cases that it is enunciated clearly. You may
whisper; you may chant; you may 'vibrate' the sounds as
taught by such Orders as the Golden Dawn; you may shout it
to the hills. You may choose different sonic keys for different
runes. My personal preference is to project the song literally
as if singing. But you should always mentally project the
sound, as if flowing from you and echoing out to the far
reaches of the Universe. You should also focus upon the key
meanings of the rune at the time of projection.

The breath control techniques learned in the previous
chapter are of vital importance in rune singing. You should
draw the breath deeply in for a comfortable count (say 6, for
example), feeling it entering your body and sinking deep
down into you. Then pause and hold for just a second or two
and exhale strongly to a double count, singing one line of the
rune song as you do so (each line being a separate breath
cycle). Hold again for just a couple of seconds, then proceed
to the next line.

Your core practice should involve you focusing
completely upon the sound of the rune, but occasionally set
aside an additional practice period and combine the rune song
exercise with the appropriate posture or with a strong
visualisation of the rune. In this way, the several parts of
galdor will begin to draw together into a powerful unit.

The songs for each rune are as follows. Note that 'g'
is always pronounced hard, as in 'good', not as in 'general'; 'j'
is pronounced as 'y' in 'you'; 'a' is pronounced as in 'park'; 'u' is
pronounced as in 'peruse'; 'e' is pronounced as in 'whey'; 'i' as
the double 'e' sound in 'street'; 'o' as in 'whole'.

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fehu

fehufehufehu

ffffffff
fufafifefo

ofefifafuf

ffffffff

uruz

uruz uruz uruz
uuuuuuuu
uuuurrrr
uuuuuuuu

thurisaz

thurisaz thurisaz thurisaz
th th th th th th th th
thu tha thi the tho
oth eth ith ath uth
th th th th th th th th

ansuz

ansuz ansuz ansuz
aaaaaaaa
aaannssuuuzz
aaaaaaaa

raidho

raidho raidho raidho

rrrrrrrr

ru ra ri re ro

or er ir ar ur

rrrrrrrr

kenaz

kenaz kenaz kenaz
keeeeennaaazzz
ku ka ki ke ko
ok ek ik ak uk
keeeeennaaazzz

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^EGISHJALMUR

gebo

gebo gebo gebo
geeeeboooo
gu ga gi ge go
og eg ig ag ug
geeeeboooo

wunjo

wunjo wunjo wunjo
wwwwwwww
wu wa wi we wo
ow ew iw aw uw
wwwwwwww

hagalaz

hagalaz hagalaz hagalaz

haaagaaall

hu ha hi he ho

oh eh ih ah uh

haagaalaazz

naudhiz

naudhiz naudhiz naudhiz

nnnnnnnn

nu na ni ne no

on en in an un

nnnnnnnn

isa

isa isa isa
i i i i i i i i
iiiiiiiissssssss
i i i i i i i i

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/EGISHJALMUR

jera

eihwaz

perthro

elhaz

jerajerajera
jeeeerrraaaa
jujajijejo
oj ej ij aj uj
jeeeerrraaaa

eihwaz eihwaz eihwaz
eeeeiiii
eeeiiihhwaaazz
eeeeiiii

perthro perthro perthro

peeerrthrrooo

pu pa pi pe po

op ep ip ap up

peeerrthrrooo

elhaz elhaz elhaz

zzzzzzzz
uz az iz ez oz
oz ez iz az uz

zzzzzzzz

sowilo

sowilo sowilo sowilo
ssssssss
su sa si se so
os es is as us

ssssssss

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^EGISHJALMUR

tiwaz

tiwaz tiwaz tiwaz
tiiiiwwaaazz
tu ta ti te to
ot et it at ut
tiiiiwwaaazz

berkano

berkano berkano berkano

beeerrkaaannooo

bu ba bi be bo

ob eb ib ab ub

beeerrkaaannooo

ehwaz

ehwaz ehwaz ehwaz
eeeeeeee
eeeehhwaaazz
eeeeeeee

mannaz

mannaz mannaz mannaz
mmmmmmmm
mu ma mi me mo
om em im am um
mmmmmmmm

laguz

laguz laguz laguz
llllllll
lu la li le lo
ol el il al ul
llllllll

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/EGISHJALMUR

ingwaz

dagaz

othila

ingwaz ingwaz ingwaz

iiiiinnnngggg

ung ang ing eng ong

ong eng ing ang ung

iiiiinnnngggg

dagaz dagaz dagaz
daaaagaaaazz
du da di de do
od ed id ad ud
daaaagaaaazz

othila othila othila
oooooooo
ooooothiiilaaaa
oooooooo

If you are uncertain about the pronunciations, Runa-Raven
Press supply an excellent CD as an accompaniment to Edred
Thorsson's Rune Song book. The book / CD combination is
worth its weight in gold to Initiates at this stage of the
curriculum.

Charging Your Rune Set

It is now time to complete the charging and consecration of
the set of runes you carved and coloured during the Work of
chapter three. This process is accomplished through the
combined use of all the skills you have developed in this
current chapter so far.

Each rune should be charged individually, in correct
sequence. To begin with, rub your hands vigorously together,

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^EGISHJALMUR

then pick up the runestave and hold it in your cupped hands.
This will allow your body heat to flow into it, vitalising it.
Then raise it until it is just a short distance in front of and
slightly below your face, so that your breath is full upon it,
breathing life into it. You should then use your visualisation
skills to project a fiery mental image of the rune upon the
carved representation, strongly willing the projection to bond
into the wood. Take a deep breath and literally sing the song
of the rune into the stave. Repeat the rune song several times,
ideally nine times.

The rune is then charged and ready for use, bound to
your own consciousness by the measures you have employed
to enliven it. Place it safely away and move on to the next
stave until all have been done.

This is the rune set which you will use for divinatory
purposes, which we will be looking at in the next chapter.
They can also be used for meditation, or manipulated upon
your altar to produce magical effects.

Magical Uses of Runestaves

There are three specific ways in which you may use the skills
you have learned so far in order to practice magic for
objective results. Indeed, at this stage in the curriculum it is
imperative that you should do so and should not be satisfied
until you can be confident in your abilities to produce some
actual, observable change in the world due to your magic.

The first stage in all three cases is to select which
runes to employ in your spell. This should not be difficult
since you have spent a good period meditating upon the runes
and their meanings by this point in time. So, for example, if
you were to cast a spell for money, fehu would certainly be

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one of the runes to be employed. For friendship, you would
want to use wunjo and ehwaz at the very least. To strike at an
enemy, thurisaz would be essential.

Having chosen your runes, they would then be
charged and sent by one of the following three methods or a
combination thereof:

1 . You could adopt the stadhagaldr postures of each rune in
turn, feeling the rune streams being reshaped by your Will
and the shape of your body, flowing through you and out
into the world.

2. You could sing the rune songs whilst tracing the rune
shapes in the air, strongly visualising them before you, the
song of change vibrating out to the far reaches of the
Universe.

3. You could carve and colour the runes on a sliver of wood
or a strip of leather, singing them into the carved
substance. This powerfully charged talisman would then
continue to radiate your Will over the long term.

A sample runic ritual follows in order to illustrate these basic
principles.

As a final footnote when considering the use of runes
for an operative Working of sorcery, take time to specify what
you really want. For example, simple money spells are rarely
worth doing. It's not that they don't work, they certainly do,
but money isn't what you actually want, is it? If you can't
afford to put food on the table, you actually want the power
and opportunity to provide for your family and their comfort.
Money is certainly a step toward that, but it isn't your actual
goal. Ensorcel for what you truly Desire, not the stepping
stones toward it. This allows greater freedom of
manifestation to the spell and enriches your soul by taking

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heed of what you truly want. The practical result may
ultimately be the same, but the difference in intent is highly
important.

A Simple Runic Ritual

This sample ritual will illustrate the basic steps involved in
any act of runic sorcery. It should be noted that this simple
skeleton can and should be expanded upon as the Initiate
gains greater familiarity with the mechanisms of magical
practice in general from the titles in the Reading List.

Let's assume a magician is due to give a speech at
some important function: a wedding or formal dinner. He is
unaccustomed to public speaking and is understandably
nervous about the prospect. So he decides to use his runecraft
to bring his nerves under control and ensure that he doesn't
become tongue-tied, but delivers an eloquent and well-
received speech.

He first selects his runes. Ansuz is a must, since it
governs speech and poetic utterance, but also produces
inspiration, so that his words will not dry up. He selects
wunjo to establish a cameraderie with his audience, hoping to
keep them entertained. Is a will keep him focused and to the
point. Elhaz assists ansuz in establishing an inspirational
link, but also defends against manifestations of his
nervousness. Finally, sowilo ensures the success of his
speech, which will illuminate and energise the listeners.

He next devises a brief statement to be made when he
invokes each rune, steering them in the direction of his Will:

"Ansuz, I invoke the speechcraft of the Old One, that
my mouth may be filled and overflowing with His wisdom.

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/EGISHJALMUR

"Wunjo, be a source of mirth and good fellowship.

"Isa, my words are uttered with precision and focus,
clear and true.

"Elhaz, my purpose is strong, no weakness or
nervousness assails me.

<( Sowilo, clear understanding and a bright response
shall be my reward from my peers. "

If he chooses to employ stadhagaldr, our Initiate will
now take time to still his mind and body and will then adopt
each runic posture in turn, singing its rune song and reciting
the statement he has composed for it. He may alternatively
trace the runestaves in the air whilst singing and reciting, or
he may chant his runes whilst carving them upon a sliver of
wood or leather, colouring them with his blood.

Bind Runes

Whilst the ritual given above is perfectly adequate (especially
when fleshed out with a full ritualistic structure as, for
example, described in Edred Thorsson's Futhark or Anton
LaVey's Satanic Bible), the Initiate may enhance it by
developing bind runes instead of simply visualising or cutting
each runestave separately.

A bind rune is a symbol which combines the shapes
of all of the individual staves into a single figure, which can
be adjusted until it pleases the Initiate's aesthetic sense. This
has the double advantage of: (1) producing a unique figure
which will be used solely for the present Working; (2)
providing a single, composite figure for the eye to rest upon
when concentrating and sending forth the rune streams. It is
so named because the force of the runes employed is bound

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^EGISHJALMUR

together in a common shape and purpose by the Will of the
rimer.

As an example, the following figure might be derived
from the situation offered above, utilising the five runes
ansuz, wunjo, isa, elhaz and sowilo. It will be noticed that the
shape of every stave can be traced within the finished figure.
When singing the runes to charge the bind rune, each must
still be sung separately. Also, the lines of each must be traced
in its turn when carved, ensuring that each element of the
whole is properly bound in its place.

The Helm of Awe

The Helm of Awe - the iEgishjalmur after which this book is
named - is the name given to the mesmerising power of the
serpent. The Helm was possessed by the Dragon Fafnir and
by it he could immobilise his foes, paralysing them with his
gaze, freezing their hearts with terror. This power of hypnotic
dread passed to Sigurd when he defeated Fafnir and obtained
the wealth and power of the Dragon. It is sometimes referred
to as if it was an actual helm, but is most often figured as a
bind rune of a specific sort. The helm has four or eight
branches radiating equidistantly from a common centre, each

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branch terminating in a rune. In its simplest form, as an
expression of aggressive defence, a protective talisman, it is
formed of four elhaz runes, as follows:

From this simple beginning, the Helm can be
elaborated in many different ways. Markings are ocasionally
placed at the midpoint of the branches and sometimes when
eight arms are used, one set of four will be shorter than the
others. The rules concerning this are not briefly explained,
but the markings and terminations at the midway point are
generally presumed to have their effect primarily upon the
subjective universe of the Initiate, whereas those that
terminate at the outermost points are intended for objective
effects. Far more extensive guidelines for the construction of
Helms can be found in Edred Thorsson's book Northern
Magic. Many examples also follow in the next section of this
present chapter.

The version of the Helm of Awe which adorns the
cover and title page of this book (and is reproduced overleaf)
was designed by me at the commencement of my Fafnir f s
Galdrabok Working. This particular Helm is intended to be
charged and then placed before the Initiate when he carries
out further magical Workings. Its function is to catalyse and
enhance the operative sorcerous skills of the runer, boosting
the results of his enterprises.

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^EGISHJALMUR

A Helm for Operative Sorcery

The iEgishjalmur is of particular interest to Draconian rimers,
since it is the chief expression of the power of the Dragon
Fafnir. As Sigurd slays Fafnir, he becomes something more
than human, his consciousness awakens the Beast within
himself, the coiling Serpent in his own Self, and releases its
potent wisdom and power within him. By utilising the
structure of the Helm as a basis for his bind runes, the
Draconian Initiate taps into this mythic resonance and claims
the Dragon's essence as his own, intensifying his magic
immeasurably.

Given that the ^Egishjalmur was borne upon the
forehead, radiating its pall of terror from the visage of the
wearer, this is reflected in the specific manner in which a
Helmic bind rune is charged and sent.

After designing the Helm, the Initiate should visualise
it intensely or stare fixedly at a drawn or carved
representation of it. Each rune in turn should be sung into its
form. This may be supplemented by stadhagaldr if desired.
The purpose of the Helm should be strongly concentrated
upon throughout.

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The Initiate then draws in a very deep breath,
imagining that he is breathing the visualised Helm into
himself. The visualisation should be felt to sink right down
through his body to the soles of he feet, blazing brightly in the
imagination. It should be held there for several seconds,
gathering power all the while. The Initiate then breathes
forcefully out and the Helm rises along with the breath,
passing up through the body until it reaches the brow, where
it bursts into incandescent manifestation in the third eye
region, between the eyes. The Initiate visualises it burning
strongly here, radiating out from his brow into the world
around, compelling it to change in response to his command.
Whilst holding the Helm upon his brow, a short declaration of
his purpose is chanted, in order to shape and fix the charge.
The Helm is then 'let go', sending it forth like an arrow from
the bow.

Initiates familiar with Kundalini will note that the
Helm follows the serpent path as it ascends the body to the
brow.

Fafnir's Galdrabok

The Galdrabok (the book of galdor, or book of magic) is an
old Icelandic grimoire of sorcery, which has been edited and
published, along with others of its kind, by Dr Flowers in a
book of that title (see Reading List at the end of this volume).
It follows the basic pattern of many of the medieval sorcerous
texts, presenting a list of spells, most of which have some
sigil or other magical sign incorporated into their usage. The
major distinction in these books of Icelandic sorcery is that
alongside the names of various devils and demons which are
familiar from other European grimoires of the time, there are

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^EGISHJALMUR

also many spells which call upon the names of the Jisir, who
had been demonised following the advent of Christianity.
Also, many of the sigils feature runic influences and some
have a similarity with the structure of the iEgishjalmur.

The magic contained within the pages of the
Galdrabok and its kindred has been described by Order
Initiate Paul Fosterjohn as 'survival magic'. There are no
high-faluting airs and graces here, these were spells geared to
the essentials, to assist the sorcerer in simply surviving in an
often hostile environment. Survival was very much key, since
to be found in possession of one of these books of spells was
certain death at the hands of the authorities.

A few years ago, the Order of Apep instituted the
Helm Project, a special research team to specifically study the
sorceries of the North, and the Galdrabok and the
^Egishjalmur in particular, since these were so closely tied to
Northern Dragon lore. As the project proceeded, it occurred
to me that it would be instructive to create a new, modern
Galdrabok in order to explore and express the Mysteries of
the Helm of Awe.

The structure that such a project should take was
obvious to me. Rather than simply compiling a random
selection of spells, I would create eighteen seals and
incantations as expressions of the eighteen mighty spells
whose knowledge is recited in the Havamal 146-163 (these
can be read in the Poetic Edda. Thus, the following grimoire
was devised.

"I know those spells which a ruler's wife doesn't know,

nor any man 's son "
- Havamal) 146

I offer a few explanatory notes on each spell. The

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/EGISHJALMUR

chants were written as they suggested themselves to me
during the heat of the creative Workings. As such, they are
bound to me and I am not interested in any perceived lack of
poetic quality. The point was to devise words which would
reawaken the necessary emotional charge within me
whenever required.

This grimoire is offered as an example of reviving
and personalising a traditional method of sorcery. While I
don't have a problem if anyone wants to use it as it stands,
that's not what it's for. Such spells are strongest when forged
from your own heightened consciousness, inflamed by the
inspiration of the moment and informed by your prior
learning. Initiates may wish to play with these to develop a
familiarity with the process of working with the Helm of
Awe, but your success will increase as you start to develop
your own expressions of the sorcery of Fafnir.

The First Spell: Help

"Help one is called,
and that will help you
against accusations and sorrows
and every sort of anxiety. "

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^EGISHJALMUR

"Thurisaz be a hammer against twisted words;

Elhaz be a sword against sorrow;

My soul is fortified and I am at peace. "

Comment : The arms of the helm are diagonal, since its
emphasis is upon help for the user's anxieties rather than an
objective result. Thurisaz is an active force within the
objective world, demolishing and discrediting any
badmouthing of the user as it occurs. The horizontal crossbar
on each arm prevents the fallout from such clashes from
affecting the user's subjective state. Elhaz establishes an
active defence and guard within the psyche. The helm
provides a sense of reassurance and security, but also has an
active component which responds to threat.

The Second Spell: Healing

"I know a second one which the sons of men need,
those who want to live as physicians. "

M

"When need is strong, I send forth vitality,
to correct the crooked and shape the shifting. "

Comment : This spell's bind rune is not a helm, it simply
didn't come to me like that. It contains uruz for vital energy;
naudhiz in recognition of the patient's need; mannaz as the
template for the whole, healthy human being whose
restoration is invoked; ehwaz to cement the exchange between
healer and patient; kenaz to assist in an informed and

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knowledgeable diagnosis; and perthro for a good dose of
luck.

The Third Spell: Fettering Foes

"I know a third one which is very useful to me.

which fetters my enemy;

the edges of my foes I can blunt,

neither weapon nor club will bite for them. "

V

"Spears shiver upon my shield,

Swords slide off my mail,

Darts fail to find their mark;

My luck is strong, my foes are nought "

Comment : This helm utilises the active, aggressive protective
force of elhaz and the triple bars on each arm shield the
magician from foes. As an active rather than passive defence,
this helm not only nullifies an aggressor's attacks (whether
physical, verbal or otherwise), but turns them around and
strikes the foe back with equal force. This involves a measure
of chance, so a final shield of four interlocked perthro runes
surrounds the helm's core.

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The Fourth Spell: Breaking Bonds

"I know a fourth one if men put

chains upon my limbs;

I can chant so that I can walk away,

fetters spring from my feet

and bonds from my hands. "

"Thrice spoken:
chains are broken " (X3)

Comment : A simple enough helm. Thurisaz represents the
force (whether physical, moral or otherwise) necessary to
break bonds or shatter accusations. Ansuz supplies the
oratory skill to talk one's way out of trouble. The helm itself
supplies the sense of awe to cow those who would detain you.

The Fifth Spell: Dodging Arrows

"I know a fifth if I see, shot in malice,
a dart flying amid the army:
it cannot fly so fast that I cannot stop it
if I see it with my eyes. "

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"I see them as they run

glinting in the sun.

Darts of evil mark

fall into the dark. "

Comment : A simple helm for a simple protective spell. Note
the specific and targeted nature of this spell: it is to be used
against a known attack. It is specifically designed to
precisely and accurately nullify specific enemy shots
(whether literal or metaphorical). It is the best tool to use in
such specific circumstances, but is useless as a general
protection, for that is not its intent. The elhaz runes are
actively defensive and the four sowilos afford clear sight and
perception.

The Sixth Spell: Magical Conflict

"I know a sixth one if a man wounds me
with the roots of the sap-filled wood:
and that man who conjured to harm me,
the evil consumes him, not me. "

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"Runes of wrath are returned

upon the wrongful rister:

My heart is whole and hale,

no harm may harbour there. "

Comment : Another protective helm utilising elhaz, the
purpose of this one is to return harm to an enemy magician.
The implication is that the user has already suffered a wound
from a magical attack. Elhaz and the three barriers prevent
further harm, whilst thurisaz hurls the attack back with
interest.

The Seventh Spell: Putting Out Fires

"I know a seventh one if I see towering flames
in the hall about my companions:
it can't burn so widely that I can't counteract it,
I know the spells to chant. "

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"Cold is my clear call.

To calm the wildfire.

Chill is my freezing chant.

To chain and control the flames. "

Comment : The vertical and horizontal arms of this helm are
barred to prevent the spread of fire, denying it fuel. The
diagonal arms cross the vertical to form hagalaz, cooling with
the power of ice and re-establishing order. Each diagonal arm
bears a kenaz rune to assert control over fire. This rune is
also invoked by alliteration in the chanted spell.

The Eighth Spell: Settling Disputes

"I know an eighth one, which is most useful
for everyone to know;

where hatred flares up between the sons of warriors,
then I can quickly bring settlement. "

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"When the whirling wheels of wilfulness

rain hammer blows of hate,

I heal the hurts, restore good hearth,

wielding words of weal "

Comment : A simple helm, utilising wunjo for social harmony
and hagalaz for the restoration of order after disorder. Wunjo
ensures that disputes are settled in a manner appropriate to the
group, but hagalaz never denies the tensions that existed.
Both runes are also invoked alliteratively in the chant.
Problems and disputes can only be solved by addressing them
and working through them, never by brushing them under the
carpet.

The Ninth Spell: Calming Weather

"I know a ninth one if I am in need,
if I must protect my ship at sea;
the wind I can lull upon the wave
and quieten all the sea to sleep. "

y\

n/

"A ship is a sturdy steed
when steered upon still waters

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over the open sea,
easy is its passage. "

Comment : This helm incorporates laguz for the water, othila
for a safe enclosure and shelter and sowilo for good steerage
and clarity. The latter two runes are also strongly alliterated
in the chant.

The Tenth Spell: Foiling Witches

"I know a tenth one if I see witches

playing up in the air;

I can bring it about that they can't make their way

back
to their own shapes,
to their own spirits. "

/N

"Fallen is the eye of malice,

bruised and broken on barren rocks,

lost in a lonely place,

bereft of sense and self "

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Comment : 'Witches' in pre-Christian European lore may be
of two types: human seers and sorceresses, or wholly
supernatural entities assuming a human form. In either case,
the spell seeks to confuse and bewilder those who would spy
upon you in a disembodied fashion. This might be construed
to include such modern versions of remote viewing as CCTV,
invoking technical faults at desired moments. The helm is a
simple affair: tiwaz for an upright victory; ingwaz to isolate
the runer from the witchery, and crossbars to shut out the
intrusive outside observer. The active bewildering charge of
the rune is channeled through the arrow head of tiwaz. The
alliterated runes: berkano, laguz and sowilo are more inward
turning, isolating and nurturing the runer and assuring his
own clarity of insight while the helm works its tangled spell
on his adversary.

The Eleventh Spell: Safety of Friends in Battle

"I know an eleventh if I have to lead

loyal friends into battle;

under the shields I chant, and they journey inviolate,

safely to the battle,

safely from the battle,

safely they come everywhere. "

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"From far afield friends shall meet

to face their foes together.

Without exception each returns

in honour to his home. "

Comment : The elhaz rune signifies both protection and a
sword; ehwaz stresses the fellowship between soldiers. The
chant alliterates fehu and hagalaz, invoking energy, reward
and the restoration of order in a potentially ruinous situation.

The Twelfth Spell: Necromancy

"I know a twelfth one if I see, up in a tree,

a dangling corpse in a noose:

I can so carve and colour the runes

that the man walks

and talks with me. "

"Out of the depths I call you,

out of dark dreams,

to awaken and answer

the questions I ask.
Dead lips are loosened,
the living shall listen. "

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Comment : The runes incorporated are laguz, dagaz and
ansuz, all of which are alliterated in the chant. Laguz
represents the dark lake in which the deceased consciousness
drifts, and its revivification. Dagaz heralds the return from
the darkness to the daylight. Ansuz invokes consciousness
directly, also Odin as the God of the slain. This echoes the
fact that the corpse in the Havamal verse is a hanged one.

The Thirteenth Spell: Coming of Age

"I know a thirteenth if I shall pour water
over a young warrior:
he will not fall though he goes into battle,
before swords he will not sink. "

"It is time to arise,

to shake off childhood 9 s shackles,

to face the wide world as a (wo)man,

to stake your claim on life. "

Comment : I have extended the meaning of this spell from
simply 'first battle' (though it still covers that) to any major
event marking the entry of a young person into adulthood.

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These days it will most likely serve as a charm for 'first job'
rather than 'first battle', but the principle remains the same.
This rite of passage is marked by laguz, reinforced by tiwaz
and sowilo for success and strong guidance.

The Fourteenth Spell: Otherworldly Wisdom

"I know a fourteenth if I have to reckon up

the gods before men:

ALsir and elves, I know the difference between them,

few who are not wise know that. "

"I know who rules in the heavens;

I know how the world is woven;

the knots of knowledge are mine to unravel

and mine to bind anew. "

Comment : A spell to enhance the runer's Understanding of
cosmological and psychological structure, meaning and
purpose. The helm is built around two eihwaz runes, the great
yew which spans all worlds. Multiple hagalaz runes (in both
its forms) are structured around the centre, revealing the

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ordering of the cosmic patterns. Understanding is provided
by Need, as alluded by the alliteration of naudhiz in the chant.

The Fifteenth Spell: Wise Advice

"I know a fifteenth, which the dwarf Thiodrerir
chanted before Delling's doors:

powerfully he sang for the AEsir and before the elves,
wisdom to Sage. "

"The wisdom of my words

shall win all hearts.
My speech is my strength
and is with gladness met "

Comment : Where the previous helm sought wisdom and
insight for the Initiate, this one serves to make his wisdom
heard and heeded among his fellows. Wunjo and ansuz
invoke wise eloquence and fellowship. Wunjo is echoed in
the chant, along with sowilo, ensuring that the advice given is
true.

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The Sixteenth Spell: Seduction

"I know a sixteenth if I want to have all

a clever woman 's heart and love play:

I can turn the thoughts of the white-armed woman

and change her mind entirely. "

"A woman f s will accords with my wish;

a woman f s heart pants for my hunger;

a woman f s desire mounts at my demand;

a woman f s legs part for my lusts. "

Comment : The use of such spells is attested in the Eddas by
such instances as Odin's winning of the poetic mead through
his skills in sorcery and seduction. The helm invokes ehwaz
for the union of two people and wunjo for joy and pleasure.
A more specifically sexual charge is added by the balancing
of thurisaz and berkano, along with elhaz in both upright and
reverse forms, referencing the female and male genitals
respectively. Naturally, since this spell was devised by me, it
seeks to influence women. Female readers can be advised

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that males are much easier to seduce. The above model can
assist you in devising a suitable charm.

The Seventeenth Spell: Sex Appeal and Charisma

"I know a seventeenth, so that scarcely any
young girl will want to shun me. "

"I am a virile force,

a man of might and majesty,

charm and cheer are mine to wield,

maidens swoon at my approach. "

Comment : Whereas the previous spell worked for an actual
seduction and consummation of lust, this one is an invocation
of the charismatic qualities which constitute sex appeal. It
may thus be turned towards various forms of persuasion and
used to sway situations where popularity and charisma are
important. The vital and masculine characteristics are
enshrined in the uruz and thurisaz runes, but these are
anchored in the inspired eloquence and divine persona of
ansuz.

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The Eighteenth Spell: Secrecy

"I know an eighteenth, which I shall never teach

to any girl or any man 's wife —

it's always better when just one person knows,

that follows at the end of the spells —

except that one woman whom my arms embrace,

or who may be my sister. "

9

Comment : Not telling.

Dream Recall

At this stage in the Work, the Initiate should begin keeping a
record of his dreams. Every night upon retiring, lie back and
close your eyes. Address your innermost self, telling yourself
that you wish to remember your dreams upon waking. As
soon as you wake up the following morning, look within and
try to recall what you dreamed about and write it down in a
journal you have placed at your bedside for the purpose. Do
this immediately. Do not wait until you've got up and had a
coffee; do not roll over and have 'just another five minutes'
first. The memory of most dreams will evaporate from your
conscious recall in seconds. Conversely, if you use those few
precious seconds after waking to seize upon a single element
of a dream, you will often find that this suffices to pull the
entire experience back into memory. Your brain is
conditioned to remember only the things that happen around

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you when awake and present only these to your conscious
awareness. You will need to retrain it to deliver you your
dreams also.

Your success will be patchy at first. If you can't
remember anything on a particular morning, record that fact
in writing too. This will gradually educate your subconscious
that you wish to be kept informed of your dreams. You will
be astonished at how well it will learn to deliver the goods
until a time will come when you can regularly recall four or
five dreams in a single night.

This dream record will be an important reference in
the Work of the next chapter, so keep it up to date.

Harnessing Emotional Energy

As well as learning to discipline and control the functions of
the mind during the Work of this chapter, we should not
neglect the emotions.

The Initiate should take note of his emotions and
when they occur and how they arise. You should seek out
and identify your own 'hot buttons', those cues that will
always provoke an emotional reaction in you. Thus, you may
become master of your own choices and responses, not the
slave to a programmed reflex.

In doing this, be careful to remember that you are
seeking to learn about and understand your emotions, not
repress them. They are powerful and essential magical drives
whose full utility will be explored in chapter seven.

But at this stage you can already learn how to start
harnessing the magical power in your emotions. During the
course of a day we experience many emotions which are not
ordinarily directly useful. So any time you are feeling

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frustrated or angry or winsome or sad, or any other feeling
that has no direct current use to you, channel it into a bind
rune that you have prepared for charging. Put it to useful
purpose. Say to yourself, "I sacrifice this emotion of <anger,
or whatever> and devote its energies and obsessions to the
greater purpose of <whatever the bind rune was constructed
for>." Then concentrate upon flooding your passions into the
prepared figure until they begin to fade. In this way, the
emotion is detached from its trigger event and reconsecrated
to your magical purpose.

Remembering

The Initiate should also use this phase of his Work to begin
training his memory. The names, order and values of the
runestaves ahould all be committed to memory. Then learn
the rune poems or sections of the Eddas by heart. This is
another thing which improves dramatically with practice:
once you train your subconscious to realise that you desire
this level of recall, it will begin to make the process easier for
you. But regular practice and striving is the only way to make
this happen.

Other, related practices of great use are learning other
languages. Any Germanic language, ancient or modern, is of
value to the runic magician. This discipline will not only be
of practical use, it will also develop the mental qualities
necessary to this phase of the Work.

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^EGISHJALMUR

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CHAPTER FIVE

UNLOCKING THE WORLDS

In the previous two chapters, the Work was focused upon
enhancing our senses and our understanding of our place and
position in the world, then training our mental faculties to
carry out our Will in the world. In this present chapter, now
that we are properly grounded and alert, we will begin
pushing the boundaries of consciousness into those areas
which lie beyond Midgard. We will explore the means of
reaching out with the mind to explore the other worlds of the
Northern cosmology and the means of divining information
through direct apprehension, both by casting the runestaves
and by visionary experiences. This chapter encompasses
many of the processes normally classified under clairvoyance
and psychic phenomena. Anyone who has diligently
accomplished the preceding Work will have little difficulty in
attaining some degree of success with these more esoteric
disciplines.

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Basic Principles of Seith

Odin was taught the techniques of seith by Freyja. This
method of magic was traditionally used by seeresses and
sorceresses and was deemed to be an untrustworthy practice
of women, unworthy of men. Well, if it was good enough for
Odin, it's bloody well good enough for me!

Those who wish to know more about the origins of
seith and the way in which it was practised are referred to A
Source-Book of Seid, Edited and Translated by James
Chisholm and Stephen E. Flowers, published by Runa-Raven
Press. In this book are collected all of the ancient references
to the practice and its practitioners.

The precise techniques of seith remain somewhat
vague, however. These days it is fashionable to describe it as
a more 'shamanistic' kind of magic than the well-structured
system of galdor, but this description is only of value if you
have studied shamanism properly and even then it is only a
comparison, not an identification. We may do best to simply
define seith in our own terms here.

If galdor is a technique of ordering and manipulating
symbols (such as the runes) is order to create effects or to
read the patterns of manifestation (in divination), then seith is
a technique of entering a trance state and allowing the
subconscious to communicate images and impressions
directly.

The trance state may be entered through a wide
variety of techniques and we will be examining a few of these
and trying them out for size in the following section. But it
should be apparent to your thought processes, duly sharpened
by the Work of the previous chapter, that such subconscious
impressions carry a far greater risk of being influenced by
subjective fancies and falsehoods. This is why we have put in

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all the hard work of building up that inner mental structure
and runic knowledge first, so that its ingrained pattern may
act as a safeguard and keep your visions upon correct paths.
To be a good and reliable seithman, you must be a practised
galdorman.

The techniques and practices offered in this chapter
will assist the Initiate in developing the clairvoyant and
visionary skills necessary to effective use of seith magic.

Magical Trance

The major stumbling block that most beginners face when
dealing with trance states is actually realising when they have
entered such a state. People seem to get all sorts of fanciful
notions into their heads. It is assumed that one must enter a
somnambulistic state, or see the mists parting in a crystal ball,
or sit around listening to twangy foreign music beforehand.

Entering trance is actually the easiest thing in the
world. We all do it all the time. Every time your mind drifts
and you daydream, you have entered a trance. Every time you
find yourself wondering what's for supper when you should
be concentrating on driving home, you have entered a trance.
Every time you are caught up in a book or a movie, or close
your eyes and listen to a piece of music, you have entered a
trance. Entering a trance happens every time you allow the
conscious mind to relax its grip and allow the subconscious to
lead the way, taking you away in a new direction and turning
your mind from what is happening around you.

There are two ways to enter a trance state and each
produces a different kind of trance. The first way is to
become fixated upon some object or event or thought and to
focus upon it exclusively; the other way is for thought to

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disperse seemingly randomly, following a myriad diverging
patterns. Both are useful in their way, each in different
circumstances.

Most solo magical or divinatory seith operations will
make use of the first type of induced trance, where a specific
symbol or question or motivation is focused upon when
shifting your phase of consciousness. In this way, the altered
mental processes will direct themselves towards a specific,
desired result. The other kind of 'open' trance is not very
conducive to solo working as it is undirected. It works best
within a group Working, or with two Initiates, one the
recipient and one the sender. In such a case, the recipient
enters a trance state, becoming a blank canvas, and is then
directed by the other(s).

There are many techniques for entering a trance state.
Some of these are discussed in chapter five of Apophis and
include the chanting of mantras, fixed concentration upon a
symbol (as mentioned above) or exhaustion induced by sexual
or other means (provided it leads to physical relaxation
coupled with mental focus, not merely sleep). Alcohol in
precisely measured quantities may also help (as explained in
chapter three, alcohol was viewed as a source of inspiration in
Germanic mysticism).

It will be noted that the practice of the posture and
thought control exercises in the previous chapters will already
have served to introduce the Initiate to a state of magical
trance, so you are merely seeking to formalise and deepen
what you already know. Do not be disheartened if your early
trances are very light, they will become easier and deeper of
their own accord with practice.

The Initiate should familiarise himself with the
process of entering and leaving a light trance state before
proceeding with the other exercises following in this chapter.

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Becoming a Seer

The main thrust of this chapter's Work will be to train the
Initiate to use the techniques of seith to become a seer. We
are seeking to train the mind to perceive the patterns
operating in the world - and not just this world, but flowing
through all the worlds of Yggdrasil - so that they can be
reliably read and interpreted and ultimately changed by an act
of Will.

As the chapter advances, we will begin by practising
galdor-based methods of rune divination, involving the
rational mind in the process and accustomising the psyche to
the interpretation of information that derives from a supra-
sensual source. This accomplished, we will begin to extend
the consciousness into an awareness - and direct experience -
of the worlds beyond this one. We should then be ready to
begin operating as a seer by pure trance techniques, without
need for the casting of physical runestaves or other props.
We will close the chapter by looking at the implications of
this expansion of consciousness for the Work that lies still
ahead.

The Rune Streams: Inner and Outer

As the Work of this chapter proceeds, you will become
increasingly aware that the runes exist both within and
without. There are runes that move within your own inner
world and are projected forth in the staves you carve, sing and
manipulate with your own hands and voice. There are also
runes that move in the world outside of your own sphere of
influence, shaping the events of the outside world. There is
no difference in principle between the raidho that reflects

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^EGISHJALMUR

your still half-formed plans for this year's holiday, the raidho
that drives you to work in the morning, and the raidho that
takes a space shuttle into orbit. All are manifestations of the
same rune. All are connected.

Once you truly awaken to this fact, you will become
aware of just how interconnected the whole of reality is. The
term 'web of wyrd' will never have seemed so appropriate.
This continuity of the runic streams, this underlying pattern
behind each manifestation of Mystery, is the reason magic
works.

You will become aware that there exists one place
and one place only where the runes within and the runes
without can meet. There is only one gate through which they
can possibly pass, a single locus which must - to you - be the
axis upon which the whole cosmos turns. This gate is your
own centre of consciousness.

Once this is realised, you will be able to open that
gate and take the patterns of the runes without into your own
consciousness, to tell their tale there and inform you of what
is happening in the world and why. They may whisper
directly in your ear (seith) or reflect themselves in your own
staves as they fall from your fingers upon the casting cloth
(galdor). But speak they will. Then you may send your own
runes through that same gate, riding and guiding the patterns
in the world outside, steering them to suit your desires.

That 'magical link' so often pondered by magicians -
that which connects the inner and outer worlds and allows
each to influence the other - can only be your own
consciousness, for this is the only thing in your Universe
which touches both realities and through which each can pass.

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Rune-Casting

To begin with we will use the techniques of galdor rather
than seith to investigate the process of divination. Since we
have already learned the intricacies of galdor, it will make it
easier for us to learn the prophetic ropes by using the means
most familiar to us. Once you have become used to the ways
in which the rune streams inform your consciousness, you
will be better able to recognise those promptings in a less
structured seith instance. The good magician will learn both
skills to the best of his ability.

There are two main ways to carry out divination by
runes, by placing a selected number of runes in predetermined
patterns of meaning, or by literally casting the runes and
seeing which fall where. But in either case, it will first be
necessary to establish a pattern whereby the reading may be
interpreted.

You will need to decide what factors you will need to
consider in order to interpret the answer to your question.
The simplest method is to randomly draw forth a single rune.
This may well answer your question, but it will necessarily be
very sketchy and lacking in detailed advice or background
information. The next step up from this is to arrange the
selected runes in three places, representing the past, the
present situation and the likely future outcome based upon the
prevailing conditions. This will still answer your question,
but will also provide you with more food for thought. A
much more thorough reading can be obtained with yet more
complex methods of laying out the selected runes. For
example, you might choose one rune for each of the worlds of
Yggdrasil, interpreting the influence bearing upon the
question from each world in turn; the ultimate manifestation
of the answer would be placed in the position of Midgard, of

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course, but its roots and possible means of changing the
outcome could be traced elsewhere in the reading.

When you have established these steads of meaning
for your reading, you should mark them on a casting cloth.
For example, a simple past / present / future model would
involve dividing the cloth into three sections, whilst a 'nine
worlds' model would involve drawing the outline of Yggdrasil
on the cloth. The cloth may be white, black or red according
to preference and the fields may be drawn, painted or
embroidered thereon.

When you are ready to commence your reading, take
the runes in your hands and mix them thoroughly. You may
wish to perform a small ritual to clear your mind and focus
your attention upon the matter you are inquiring about. Ask
the three Norns - the keepers and shapers of Wyrd (see
further in chapter eight concerning this) - Urdhr, Verdhandi
and Skuld - to reveal the patterns of manifestation to you
with regard to your inquiry. Then the runes should be
selected for placement in the steads of meaning.

This can be done by either mixing the runestaves in
your hands, then carefully selecting one (or more) at random
to place in each stead. Or it can be done by mixing the staves,
then holding them high, closing your eyes and letting them all
fall, scattering them upon the casting cloth randomly.

In either case, the runes are now interpreted according
to the stead in which they are placed. If a rune falls in a stead
which represents the past, it will be interpreted as a factor in
the initial shaping and formation of the matter under inquiry,
shedding light upon the reason matters now stand as they do,
for instance. If using Yggdrasil as a model for a layout, a
rune falling in Jotunheim would represent the immovable
obstacles that must be circumvented when dealing with a
situation; a rune falling in Svartalfheim would indicate the

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practical skills necessary to achieve a satisfactory conclusion.

If you draw runes to be placed in specific steads, the
above process will be relatively simple and will consist of
considering the import of the field in which the rune lies, then
using your rune knowledge acquired in previous chapters to
interpret the meaning of that rune in relation to the position it
occupies relative to the question. This mental cross-
referencing and balancing act will become easy with practice.
You may then need to adjust your interpretation to take into
account a given rune's relation to others around it and how
they impact upon the question. Use your intuition and the
rune lore you have absorbed to acomplish this; divination is
more of an art than a science.

The casting of runes upon the cloth is a more
adcvanced technique, requiring experienced interpretive
skills. It can provide a deeper, but much more complex
meaning. For a start, some runes will fall outside of the
established fields of meaning; they should be discarded from
the reading. Also, some fields may be empty if no runes fall
in those places. Those areas will thus have no impact upon
the reading (although it may be interesting to consider if these
missing influences could be introduced into a situation they
are currently absent from: is a situation bad because it is
lacking in fehu, for instance, or does the lack of any activity
in Ljossalfheim signify why the questioner is indecisive?) In
such readings, different fields will contain different numbers
of runes and their concentrations need to be explained and
their combined influences calculated. Bear in mind that some
runes may cross from one field to the next, falling across the
line. Some may fall and lie in parallel, reinforcing each other.
Still others may fall across one another, blocking or diverting
each others' influence. All of these patterns will need to be
interpreted and read according to your runic knowledge and

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your own inspired intuition. Let the runes speak to your deep
mind, do not simply recite accepted meanings by rote.

The information provided is sufficient for a good
student to use the runes for divinatory purposes. Much more
detail on this subject, with examples and additional layout
methods and ritual guidelines can be found in Edred
Thorsson's book At the Well of Wyrd, which is the last word
on the subject.

Reading the Runes in the World and in Others

The seith method of divination is to enter a trance state and
seek to intuit the currents and patterns of the rune streams
flowing through the world by direct psychic apprehension,
instead of establishing a resonance with physical runestaves
to read them in. The Initiate seeks to focus his mind on the
question to the degree that it triggers a mental state that
allows him to see the Wyrd spread out before him, enabling
him to prophesy, speaking what he sees.

It is possible to practice this trance state by
deliberately taking time to consider what runes are present in
a given situation in everyday life. In this way, you will train
your mind to look for the roots of things as a matter of course.
Every half hour or so, remind yourself to have a look at
everything that is occurring about you and analyse it
runically. For instance, if a monetary transaction is taking
place, fehu will be involved; if cars are driving by, think
raidho. Initially, your insights will be of this simplistic
nature, but as your runic knowledge grows and your analysis
of people and circumstances starts to deepen, you will begin
to jump to some startling insights as your subconscious senses
and responds to your desire to look deeper into the causes of

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things. You will find yourself perceiving exactly how a
situation will unfold before it actually happens. This skill can
then be transferred from your practice into a more formal
divination session when you really wish to know something
important to you.

There are both pros and cons to this more intuitive
approach as compared with the techniques of laying out
physical runestaves for a reading. On the plus side, the
patterns and currents you perceive arising from your deep
mind have already been weighted and interpreted before they
bublle through into your consciousness. All you need do is
speak what you 'see' and relate what 'comes through'. Also,
you are more likely to pick up one specific details which may
be uncannily accurate, things that may never occur to those
who rely on a more rigid interpretive matrix. But on the
minus side, you are more prone to error and have no real
checks and balances against which to check your perceptions.
If you are at all off colour or obsessed or troubled by some
other issue at the time of the divination, it is far more likely to
colour your results and introduce error.

Initiates should strive to master both methods of
divination, of course.

Riding the Eight-Legged Steed: Rune Journeys

Now that you are training your mind to perceive the rune
streams in the world around you, it is time to reach out with
your consciousness to explore the worlds beyond this one.
Midgard is the centre of all the worlds, the realm of
manifestation, but it is important to grow to understand where
these runic streams are ultimately flowing from. Note that the
previous sentence should be interpreted very carefully; your

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first interpretation of it may not be your final interpretation of
it, but this may become clearer as we progress.

The process of stepping out of Midgard and
perceiving the other worlds is one which requires a specific
combination of Will and imagination. The imagination is the
tool which gives shape and perception to realms beyond the
physical. A firm Will is required to keep the vision on track
and not fall into the trap of daydreaming.

These journeys, which are such an important part of
the seith part of our Work, raise all manner of stumbling
blocks for those not already familiar with them. Some people
will find it difficult to distinguish whether they are actually
on a clairvoyant journey at all and will not be able to grasp
the reality of what they are doing. Others will protest, "But
it's only imagination!" Let's take a little time to put these
difficulties and misunderstandings to rest.

Probably the most common difficulty faced by
inexperienced but eager Initiates is the failure to recognise
when they are experiencing such a mental journey (or 'astral
journey' as most occult sources label it). Go back and reread
what is said about trance states, then remind yourself that the
imagination is the tool used to undertake such journeys. It is
possible to expect too much, but this technique - as with all
others - can only reach its greatest strength through practice.
People tend to expect to feel a sense of separation from their
bodies. This will probably not happen, at least not at first.
The body is still there, with all of its sensual apparatus active,
and it is only the well-experienced mind that can sink itself so
deeply into its visionary experience that all awareness of the
body is temporarily lost. In fact, some of us make deliberate
use of the fact by shifting awareness back and forth to make
notes as we go (this is probably not advisable for beginners,
as the continual shifting of consciousness may break the

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connection to the experience).

It may help, therefore, to assume that what you are
doing - at least initially, until experience teaches you
otherwise - is simply a kind of daydreaming combined with
meditation. Just use your imagination to shape your journey,
visualising the sights and sounds of the world around you as
you go. When you have gained some familiarity with the
proces, you will learn to distinguish between this willed
process and mere daydreaming, especially when startling
insights and communications start to come through. But for
now, daydreaming describes the kind of perception you
should reasonably expect.

As for the protest that this is only imagination: there
is no 'only' about imagination! Everything that mankind has
ever produced has been birthed in the imagination. The great
cathedrals, the pyramids, every work of art, the internal
combustion engine, all of these things were only made real
because they were first conjured into existence in someone's
imagination. What is more, the imagination is the mind's
image-making faculty, it is the lens which interprets and
presents the information gathered by the senses. So literally
everything you ever perceive - even those you deem to be
objectively real - are reshaped and prepared in your
imagination before presentation to your conscious mind. So
this silly objection can be discarded altogether.

It should be borne in mind that although the physical
body is bound to the physical world of Midgard, the
consciousness is not. The imagination and intellect may roam
freely throughout the worlds once it finds the paths to do so.
This process is akin to dreaming, wherein the mind fashions a
mental body for itself to interact with the visions and
landscapes it encounters. Odin's steed Sleipnir had eight legs
and so does the human mind. The body remains in Midgard,

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but the legs of the imagination may ride throughout the other
eight worlds.

Mapping the Nine Worlds

How does one set about exploring the World Tree? First of
all, remember that you are established in Midgard, the central
world, into which the influences of all the others flow and
become manifest. So don't make the mistake of assuming that
you start at the bottom and work up, or at the top and work
down. Your journeys will begin in Midgard, the centre, and
wend outwards, up and down from that point.

If you refer back to the diagram of Yggdrasil in
chapter three, you will note that pathways run between the
various worlds, connecting them all. A journey will consist
of establishing your consciousness in Midgard, then sending
it forth along these paths, making note of all that you see and
experience along the way, finally arriving in one of the other
worlds described in the third chapter.

You will notice that there are twenty four of these
paths and it makes sense to assume that this number is
significant, with each path relating to one of the runes. I am
not going to spell out for you which is which or suggest an
authorised interpretation, I will simply suggest that if you
begin in Midgard and chart your path out, up and down from
there, you will find a pattern of meaning that appeals to you.
Let each path speak to you and inform you of its own merits.
Ultimately, if you have put the groundwork in and are
confident of your rune lore, you cannot be wrong, since every
path contains every rune to some degree, just as all runes are
but aspects of the one Rune.

Each journey should have a specific destination. For

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example, you may decide that you wish to visit Vanaheim to
learn the wisdom of that world. You would begin by using
the techniques already learned to quiet your thoughts and
enter a light trance. Then create a vivid mental image of
yourself and powerfully imagine yourself 'stepping out' of
Midgard and travelling west, in the direction of Vanaheim.
Carefully observe everything that you encounter on the path
that leads you there, as you will want to make extensive notes
of all your travels. If you fail to keep notes, there is no point
even beginning this Work. Eventually, the path will lead you
to Vanaheim and you will enter that realm. Don't rush things:
simply getting there will probably be sufficient for your first
visit. The next time, you will be able to tread the path more
quickly, relying on the landmarks you have already
established, and will be able to spend more time in the world
of Vanaheim itself. Each retreading of a journey will become
more solid and 'real' in your mind, adding structure to your
psychic universe. You will become familiar with the paths,
noting more and more detail as they open themselves up to
you. These journeys should be made many, many times.

Do this for all of the paths and worlds, lay claim to
them and come to understand them as a regular traveller of
the rune-roads.

Once you have become accustomed to the layout of
the nine worlds and the paths that run between them and have
established a series of landmarks whereby you navigate the
branches of Yggdrasil, it is time to start personalising them a
little more.

Turn now to the dream journal you began keeping in
the Work of the previous chapter. If you have been keeping
this journal for any period of time, you will have already
noticed how certain themes, images and locations frequently
recur in your dreams. These are themes which are unique to

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yourself and are reflective of the manner in which your
subconscious chooses to communicate with you. You should
therefore make the effort to try to place those dreams within
the psychic map you have been constructing. Consider
carefully to which world - or connecting path - a given dream
image belongs. You might wish to draw an outline of the
world tree, write upon it the traditional attributions and over a
period of time add those dream images which are your own.

Interpretation of Dreams and Omens

Once you start mapping your own dream world to Yggdrasil,
you will find a new coherence of vision within your
innermost self. What is more, you will find that this
coherence begins to inform you on many levels.

Forget books about dream interpretation. The guide
to the meanings of your own visions will be discovered by the
attributions you apply on your world tree. As these expand
and grow, so the Mysteries of your subconscious are
gradually revealed. The meaning of your dreams will be laid
bare to you. (Of course, not all dreams have important
meanings, but all arise for some reason; interpret the little
along with the great. Practice always makes perfect.)

This will further lead to the apprehension and
interpretation of those synchronicities that arise in the
magical life with ever-increasing frequency. This ability is at
the root of accounts of soothsayers who could divine the
future by observing the flight of birds and so forth. All things
speak to the mind that is awake and alert and tuned into its
own language of Mystery. This observation and
interpretation of symbols incorporated in synchronistic
happenings is another aspect of seith and should be practised

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by the Initiate. You will score many failures at first as you
learn the language', but each failure will teach you more until
you begin to see and speak True.

Blood and Venom

We will be dealing with the full initiatory symbolism of the
Sigurd / Fafnir myth in the next chapter, taking it to its
culmination. But first, it is appropriate to investigate the
nature of the Dragon and its attributes a little more closely.
We need to be fully aware of the forces we are dealing with.

We have already spent some time looking at the
outward powers of the Dragon, in particular the Helm of
Awe, but we also need to examine its inner power: its Blood
and Venom.

The blood of Fafnir is key to the Sigurd myth. It is
after tasting the Dragon's blood, that Sigurd is able to
understand the languages of bird and beast and thus discover
Regin's plot to kill him. It is thus the blood that passes on the
power of the Dragon into the hero and which ensures the
hero's own survival.

Blood is key to survival, of course. It is the vital fluid
that carries life-giving oxygen around the body. It is red with
the heat of vital energy. Blood is used to enliven runestaves.
We use the term 'bloodline' to refer to our ancestry, to the
heritage we carry within our genetic structure. Those of us
who view the world through spectacles which are not purely
mechanistic believe that blood may also carry forward a
psychic heritage, a pattern of Becoming that is ultimately
traced back to Odin.

The Dragon is symbolic of the Beast in Man. It is the
primal root of Being, the reptilian brain stem which predates

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the development of true consciousness. It is the raw Chaos-
stuff of which our psyches are born and shaped. The
bloodline of the Dragon carries forward all of these qualities,
the genetic and psychic attributes of the Beast. So what does
it mean when Sigurd slays Fafnir and then tastes the Dragon's
blood?

The slaying of the Dragon is indicative of the victory
of consciousness over non-consciousness in the individual.
This is that moment when one becomes an Initiate and can
honestly say, "I have Come Into Being." The Initiate has
learned to steer the course of his life by conscious Will,
jettisoning the pre-programmed survival responses and
conditioning, and adopting free choice in their place.

The act of consuming the Dragon's blood establishes
a very important fact, however, one that is deeply rooted in
the Northern tradition with its emphasis upon ancestral
sovereignty and the literal kinship between Man and his
Gods. This tasting is an act of affirmation that the hero and
the Dragon are linked by blood: they are kin.

In other words, the Initiate takes conscious control of
his life and establishes his own Will in the place of
sovereignty, but he accepts the Beast that he has conquered as
a valid and necessary part of himself. Its functions and
powers are vital ones in this world, so he brings them into
conscious awareness, unifying the heroic essence with the
Draconian essence by an act of Will.

This essential step of unifying the conscious and
bestial natures is an important one in the practice of
Draconian magic. Some initiatory schools neglect to stress
the necessity of this step, assuming that the 'lower nature' can
be sloughed off and disregarded. This ultimately leads to the
resurgence of those powers as 'monsters from the id', as
admirably illustrated in the old science fiction movie

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Forbidden Planet. After the ascension of consciousness to
the throne of Self and the overthrowing of the pre-conscious
imperatives, they must be examined, understood and brought
fully on board as essential parts of the mind-body-soul
complex.

So as Sigurd kills Fafnir in the saga, in a very real
sense he actually Becomes the Dragon. A further
metamorphosis / integration lies ahead of him, which will be
discussed over the next two chapters.

Blood is not the only fluid associated with the Dragon
of the North, however. As blood is the fluid of life, so venom
is the fluid of death. All of the great Serpents and Dragons of
Northern mythology are described as venomous in the
extreme: their breath, their bite and their very presence are
poisonous. In the Sigurd myth, pits are dug for the venom to
spew into; it is the venom of Jormungandr that causes Thor to
fall at Ragnarok after the mighty God kills the Serpent with
His hammer; Beowulf is brought low by the venom of the
Dragon which has been laying waste to his kingdom. In so
many tales, the hero kills the Dragon but is then himself
overcome by its venom.

The thing that distinguishes Sigurd from other
legendary Dragon-slayers is that he tasted the Beast's blood
and assumed its qualities, integrating it into himself. The
consciousness that cannot integrate the Dragon within is
doomed to die by its venom.

What is the nature of this venom? The poison of an
ordinary snake tends to break down and dissolve the tissue
into which it has been injected. In other words, it is a
dispersive agent, whose function is to break aggregates down
into their constituent parts. Naturally, as the venom courses
through the blood stream, the body of the stricken victim
breaks down altogether and death ensues.

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Given the strong presence of venom in the Draconian
myths of the North, it will pay us to take a closer look at it
and why it is so important. It is a startling fact that Venom is
counted as one of the Elements - the basic building blocks of
reality - in the Northern cosmological model. We shall
devote the next section to a study of the implications of this in
relation to our world view and this initiatory curriculum.

Ginnungagap I:
The Creation Myth as a Model of Magic

Most students of the occult are familiar with the Hellenistic
model of the four classical Elements, namely Fire, Water, Air
and Earth (with Spirit as a fifth, from which the four other
Elemental principles are ultimately derived). In most
curricula of ritual magical practice, these Elements are
appointed to the four cardinal points of the compass: Earth to
the North; Air to the East; Fire to the South and Water to the
West. The magician is thus provided with a workable model
for invoking / balancing Elemental forces and affinities, a
process upon which almost all practical magic is based.

The Northern European model is a little different to
this. The tradition is recognisably derived from the same
ultimate European cultural roots and is not incompatible with
the Greek ideas. But it finds a different emphasis in its
expression and spawns an interesting set of secondary
Elements. In Northern Elemental lore, we begin with a Void.
There then arise two primary Elements, whose interactions
produce a further two Elements. This provides the fourfold
basis upon which manifestation may occur. The four
Elements then interact with each other to produce a further set
of four secondary Elements, representing their operations in

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the world. Finally, all are gathered in the Element of Earth as
reality Is.

According to the Norse account of creation given in
Snorri Sturluson's Prose Edda, before the manifest Universe
existed there was a Void, called Ginnungagap, which
translates as something akin to 'magically charged space'.
Those who have read Apophis will recognise this as the Void
described therein. It is a a kind of anti-place, where nothing
exists in manifest form yet where everything possible exists in
potential. Note that I stress 'everything possible'. This
potentiality includes not only everything that will ever exist,
but also everything that will never exist. The Void is a
Neverwhere / Neverwhen outside of time and space, which
contains the seeds of Everywhere and Everywhen within
itself.

How does something Come Into Being from Nothing?
Because Ginnungagap is not nothing as we understand it. It
must be Understood as a Nothing which is not itself manifest,
but which contains the matrix for the possible manifestation
of everything. If all manifestation occurs as equal and
opposing forces, then the overall balance of Zero is
maintained. This is Crowley's equation of = 1 + (-1).

So the Void spawned two equal but opposite forces
which formed at opposite ends of it. These forces are the two
primary Elements of Northern lore, Fire and Ice, symbolically
placed in the South and North respectively and embodied in
the worlds of Muspellsheim and Niflheim. Fire is the
expansive force of heat and brightness and Ice is the
contracting force of cold and concentration.

The expanding heat from Muspellsheim radiated
outwards until it finally met and mingled with the frozen
stream issuing from Niflheim. The touching of the two
opposing forces had explosive results, resulting in a burst of

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energy and interaction that spawned the building blocks of the
whole manifest Universe. This creation myth is recounted in
detail by Snorri's Prose Edda and its symbolism is discussed
in some detail in the books of Edred Thorsson.

The initial mingling of the energies of Fire and Ice
produced a further two primary Elements, establishing the
four quarters of manifestation. These two Elements were Air
and Water, stationed to the East and West respectively.

This creates a model quite similar to that of the four
classical Elements which is still used by most modern occult
models. A comparison is below.

Direction

Classical
Element

Northern
Element

North

Earth

Ice

East

Air

Air

South

Fire

Fire

West

Water

Water

The only difference between the two models at this
stage is that the Element representing solidity and density in
the North is Ice instead of Earth in the Northern conception.
This striking similarity indicates the shared origin of
European thought prior to later diversification.

The Southern tradition chose to expand upon the
basic fourfold model by subdividing each major Element into
a set of Sub-Elements. So Water, for instance, would be
subdivided into Fire of Water, Water of Water, Air of Water
and Earth of Water and the others would be similarly divided.
In this way, they sought to express the more complex

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interplay between the Elements.

In the North, they approached the question of
complexity and Elemental interplay in a different way, one
which restated the ninefold theme so prevalent in Northern
mythic patterns. They looked at the arrangement of the
Elements at the four quarters of manifestation, then observed
the angles where each Element met with its neighbours. At
these borderlands where the primary Elements met and
mingled, they brought into being four more secondary
Elements, which combined the natures of each of their parents
and expressed them in new ways.

In the North-East, between Ice and Air, is the Element
of Salt; in the South-East, between Air and Fire, is the
Element of Iron; in the South- West, between Fire and Water,
is the Element of Venom; in the North- West, between Water
and Ice, is the Element of Yeast.

Just as the primary Elements are established on a
fourfold matrix formed by two pairs of opposite forces (Fire
vs Ice; Air vs Water), so the secondary Elements establish
themselves according to the same pattern, but from the angles
between the compass points rather than the compass points
themselves. Thus, Iron (principle of hard, inert matter) is
opposed to Yeast (principle of organic change), and Salt (the
basis and sustenance of life) is opposed to Venom (the
dissolution of organic and inorganic compounds).

All eight of these Elements are finally summed up
and synthesised in a single Element which is the
manifestation of all their qualities in a dynamic, ever-evolving
whole. This Element is Earth. Unlike the Earth Element of
the classical model, this Northern Earth Element represents
the entirety of manifest reality in Midgard.

Thus, we have a ninefold model of Elements to go
with our ninefold world structure.

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The four secondary Elements display a level of
sophistication and differentiation lacking in most other such
systems and the final synthesis of the Elements in Earth
reinforces the Northern view that Midgard - the world of
manifestation - is the purpose and destiny of creation, the
culmination of all, not a confining prison to be escaped from.

Now that we have established the position of Venom
as one of the root Elements, we may consider anew its
importance to the Draconian Initiate. All of the Dragons of
the North are venomous in the extreme and we have
established that the Initiate who conquers the Dragon and
partakes of its blood (i.e. synthesises it within his own Self)
will gain the powers of the Dragon. However, the Initiate
who seeks to overcome the Dragon by suppressing and
denying it (i.e. by putting it down and not partaking of its
bloodline) is overcome by its Venom, which still seethes
within his subconscious, beyond his reach.

Venom, the Element of dissolution, is the tool
whereby the Initiate loosens and unties the knots of reality -
and of his own Self - so that they can be reshaped. Things
that were bound fast dissolve and come to pieces through the
application of Venom. This is true and instantly observable
in the world around us; it is equally true in the world of
magic. This process is figured in the Valknutr, the Knot of
the Slain, which we will be considering closely in the next
chapter.

Before leaving this model of the Norse creation myth,
we should briefly consider its ramifications as a model for the
practice of magic. After all, every magical act is a creative
act and every act of creation follows this same pattern. (We
are here considering only the Elements of creation, not the
figures and characters in the mythology, though there are
many essential lessons to be learned there too by those who

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wish to study further.)

Every magical act begins with a Void, into which the
magician invokes the Elements which constitute the situation.
The primary Elements of any magical Working are the
magician himself and those factors he wishes to change.
These are all brought into balance within the Working
environment. The secondary Elements are those tools (such
as runestaves, rune-songs, bind-runes, etc.) which introduce
the desired change into the situation that has been established.
Some of these tools will enliven and strengthen positive
aspects (a Yeast function); others will dissemble or rearrange
negative aspects (a Venom function.) Finally, all will be
synthesised into a new Earth at the conclusion of the
Working.

This model may not be clear to you yet with regard to
your own Workings, but keep it in mind and it will in time
become so. It should remind you that every act of magical
creation is an echo of that original Coming Into being. This
process will be discussed at much greater length in the next
chapter.

The Wode-Self Stirs

The Initiate who has got this far without skimping on the
exercises and who has taken time to study the mythology and
lore, will begin to notice a few peculiar changes in himself at
about this time.

As well as his ordinary, everyday personality, he will
begin to detect a new focus within his consciousness, almost
an 'other self which takes the reins at times of peak
experience, and most particularly when engaged in acts of
magic. A secondary consciousness, encapsulating those parts

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of himself that he defines as 'the Initiate', will appear to have
arisen, to have Come Into Being.

This phenomenon will be similar to that of 'the
observer', with which we will all be familiar. Basically, the
observer phenomenon refers to the process where you are
doing something, but then suddely realise that there is another
'you' or aspect of you who is watching you do it. The first
stirrings of this magical 'other you' will happen when you
notice that upon entering a magical trance state or performing
any act of ritual magic, a kind of wiser, more charismatic self
appears to come to the fore and take you over.

This entity - which we may call the Wode-Self - is
discussed briefly in chapter four and its arising and
subsequent development will be documented quite thoroughly
in chapter six.

The Ultimate Rune
and the Runic Shaping of the Void

As the Initiate contemplates the role and nature of
Ginnungagap - the Void - in the process of magical creation,
so he will begin to grasp the significance and immanence of
Runa - the Ultimate Rune - as it brushes the fringes of his
consciousness.

Runa is the Mystery that lies over the next horizon, it
is that which is immanent, but which has not yet come into
manifestation. Runa is Schrodinger's Cat before the box has
been opened. It is reality about to resolve in one direction or
another, the tension before it happens. It contains all of the
runestaves within itself as expressions of itself.

The task of the magician with relation to Runa has
two parts, each equally important. First, he must discern

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which resolutions are likely and which are not. Then he must
manipulate those specific runes which will coax Runa to
resolve a situation in such a way that will manifest the most
likely of those resolutions which is most resonant with his
purpose. These two operations are divination and sorcery
respectively.

Runa is much bigger and more important than this -
also much more personal. We will return to stress just how
big and how important later. But this offers a brief insight
into the magician's interaction with Runa in his magical
practice at this stage of Initiation.

Rune Poems - Inspiration and Sacred Utterance

If you have practised the section of this chapter dealing with
divination, most particularly divination through direct
apprehension in a trance state rather than just rune-casting,
you will already be familiar with perceiving and expressing in
words the currents and images that well up into your
conscious mind from the subconscious depths when you
direct your Will to this purpose. Before concluding this
section of the Work, we should try to extend this practice into
two new and exciting areas. These are skills which will
become particularly useful later on, but in order for them to
do so, you will need to begin the ground work now and get
some solid practice in.

Take some time to read the rune poems (the Old
English, Old Icelandic and Old Norwegian Rune Poems).
These are contained in many runic texts, but the best two for
the purpose are either Rune-Song or The Rune Poems, Vol. 1,
both by Edred and published by Runa-Raven Press. These
poems consist of a series of stanzas, each of which is a brief

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encapsulation of the qualities of one of the runes. Study these
poems avidly; commit them to memory if you can. Learn
what it is they have to say about the runes. For some runes,
this will be straightforward, but other stanzas will require a
deal of thought and meditation until you pin down the core
meaning and how it pertains to the rune.

Once you have fully familiarised yourself with the
traditional Rune Poems and the way in which they are
constructed and worded in order to reflect the innermost
qualities of the runes in frequently riddling language, you can
progress to the next step. This is to write a rune poem of your
own.

Don't simply sit down and begin writing the first thing
that comes into your head. Take time to invoke each rune
properly, letting its essence infuse your consciousness. See
what thoughts and images spontaneously arise and use these
as the basis for your poem's stanzas. Choose your words
carefully in order to convey the correct emotion. Remember
that sounds have power in runic magic, so shape your sounds
well. Work through the entire rune row in this manner until
you have completed all twenty four stanzas of your own Rune
Poem, which taken in its entirety will be your own unique and
personal apprehension of Runa.

Next you should sit down and reread the Poetic Edda.
Pay particular attention to the more prophetic and visionary
sections. Then think of how these writings are enhanced and
made majestic by the visionary elements and the words used
to describe them. Words - in the hands of a poet or visionary
- are amongst the most powerful and world-changing of all
magical forces. True 'words of power' are those which you
utter and which then ripple out across the world, travelling
from mind to mind, creating change in every consciousness
they touch. This is true magical power and the triumph of the

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magical approach of galdor.

You should be accustomed to using inspired prophecy
as part of your divinatory toolbox by this stage. The next
time you use it, try to capture your impressions in words and
weave them as skillfully and as powerfully as the words are
used in the Eddas. Become a prophet in truth.

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CHAPTER SIX

HANGING ON THE TREE

In this chapter, the Work really steps up a notch.
Paradoxically, the prescribed exercises will become much
fewer in number. Instead, you will need to devise your own
means of considering the ideas presented and Working with
them to increase your Understanding.

In this chapter, we will take another, closer look at
Sigurd as the heroic slayer of Fafnir and the treasures and
powers he thereby became master of. But we will also take a
first look at another of the great Dragons of the North,
Jormungandr, the Midgard Serpent, who lies at the bottom of
the ocean and encircles the world, bounding it with his coils.

We will be looking again at Ginnungagap, the
Creative Void, and will consider what it means to awaken the
Draconian consciousness and open the Eye of the Dragon
within that Void, perceiving its limitless possibilities in their
entirety.

We will encounter the concept of the Wode-Self
again in this chapter too, as our consciousness awakens parts
of our Selves which have previously been slumbering. This

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will lead us some small way to determining why we are the
people we are. Who are we and why are we here? We may
now begin to Understand something of the concept of
Destiny.

Mimir ? s Well and Hlidhskjalf

Odin sees all, gathering information to Himself, analysing it,
tracing the patterns of Becoming, and making His plans to
suit the ever-changing situation.

We have already made reference to the two ravens,
Huginn and Muninn - thought and memory - who fly out
each day and return to tell Odin of all that they have
witnessed transpiring in the worlds. But they are not the Old
One's only means of vision or wisdom. As befits the often
paradoxical balance factor found in Northern lore, Odin gazes
out upon the worlds from both the highest and the lowest
points on Yggdrasil.

Right at the very roots of the World Tree is located
Mimir's Well. The waters of this well are renowned for the
wisdom that they bestow. Odin sacrificed one of His eyes for
a drink of this water, casting it into the well. However, His
eye remains there in the well still, turned upwards, marking
all that occurs in the deep places of the worlds.

At the other extreme of Yggdrasil, Odin has his seat
upon Hlidhskjalf, the highest peak in Asgard and the
uppermost vantage point in the nine worlds. From here He
can look down and behold everything that occurs in the
worlds below.

The symbolism of these mythic images is of great
importance in this chapter and you should keep the well and
the high seat in mind as we progress. For the Work of this

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chapter involves the process of opening the Eye in the Void, a
process akin to Odin's sacrifice of His eye to Mimir's Well.
At this stage in Initiation, you will also have a very definite
experience of the Wode-Self awakening and steering your
consciousness at critical moments, affording the Vision from
the high seat.

In the previous chapter, you experienced the other
worlds of the Northern cosmology by faring forth on
imaginative journeys to explore them and the paths that link
them. That realisation will now be taken a significant step
further as you begin to realise that there are elements of your
consciousness that permanently abide in these other worlds,
especially those situated upon the central trunk of Yggdrasil.

Your body and conscious mind are located in
Midgard, but as you learn to open the Eye in the Void, you
will become increasingly aware of a consciousness which
subsists at the very roots of the tree, where Mimir's Well is
located. Similarly, you will become aware of the Wode-Self,
a consciousness that abides in the highest places of Asgard.
Yet both of these distinct consciousnesses will still be you,
parts of your awareness that have been long cut off from your
conscious perception and are now being integrated as a direct
result of your magical Work.

The Eye of the Dragon and the Helm of Awe

We have now reached a point in our Work where the Dragon
has been integrated into the consciously accessible parts of
our psyche and we have obtained some experience of
exercising the powers it brings, as symbolised by the Helm of
Awe.

It is time now to weave a matrix of Understanding

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around that Draconian awareness and to place that experience
with the Helm in a coherent philosophical context. This
context and matrix of Becoming is symbolised in the Seal of
the Order of Apep:

In brief, this Seal consists of three main elements which are
interpreted as follows: [1] the central Serpentine Eye is the
awakened Dragon, the focal point of the Initiate's
consciousness, seeing all through its Draconian lens; [2] the
three linked triangles represent the Will of the Initiate,
extanding from the Eye and reaching out - through all nine
worlds (symbolised by the nine points) and across all spans of
time and space to touch and influence [3] the surrounding
boundary, the phenomenal world of manifestation, in which
that Will may take shape and create change. Every Secret of
Draconian Magic is contained within this Seal.

The Seal may be drawn with the triangles more
obviously interlocking, as in the version by Order Initiate
D.V. Graal shown below. This emphasises the link between
the Seal and the valknutr:

>v<j*«'.«2«

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Tellingly, the Seal may also be represented as a Helm
of Awe, as illustrated below. In this case, the central Eye
itself is taken as one of the nine points, the other eight
radiating outwards as elhaz runes, with the circle being
replaced by Jormungandr, the Midgard Serpent:

Much of this chapter will be spent elaborating upon
the symbolism and meaning of the Order Seal, since its
Understanding is essential to the Work of the Initiate at this
stage.

The Dragon Within and the Dragon Without

Up until now, we have focused our attention almost
exclusively upon Fafnir as the symbol for the Dragon whose
blood and venom has been instrumental in awakening new
powers within the Initiate, bringing the dark, submerged parts
of the psyche into their proper place in an integrated
consciousness, transforming them from a source of
unpredictable danger to a source of immediate power. In this
manner, like Sigurd, the Initiate is elevated from Beast to
Hero.

We have so far dealt with the process of bringing the
Draconian Essence into consciousness and integrating it
within your Self. This is symbolised by the Dragon's Eye in
the centre of the Order Seal. This Draconian Essence - this

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bloodline of the Dragon - extends back to primeval times, an
image and a psychic 'shape' that has been buried deep within
humanity since before our species became properly self-
aware. The Eye represents a window in the soul that looks
out across infinity and eternity; it is timeless and ageless and
the continuity of this Draconian bloodline is crucial to the
immortality of our own soul, as we will ride into
Remanifestation upon the Dragon's Breath. But more of this
later.

The other Dragon that now concerns us is outside of
the Self; indeed, it is at the furthest extreme from the inner
Dragon, coiling around the very outside boundaries of
manifest reality, holding the Universe in shape. This
encircling, binding force is the Midgard Serpent,
Jormungandr, the bane and doom of the mighty God Thor.

The importance of the function of Jormungandr
cannot be overstated. This great Serpent bounds, and thus
defines the limits of, reality itself. Without the encircling
Serpent, the Universe would unravel and disperse. This is
why the tale of Thor's fishing trip, when He hooks the Serpent
and tries to reel it in, is so insistent upon the peril of this
action. Witness also the consequences of Jormungandr's
uncoiling and slaying at Ragnarok, when reality is unmade
and falls into ruin.

In marking the limits of manifestation, the Midgard
Serpent defines a space in which creation and subsequent
transformation may occur. It allows the phenomenal world to
Come Into Being. This provides resistance and a friction
against which the Will of the Initiate may find purchase when
seeking to introduce change.

The inner Dragon represented by the Eye and the
outer Dragon represented by the Circle in the Order Seal do
not touch each other: one is the focused, contracted point, the

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white heat of Selfhood; the other is the expanded, ever-
shifting Universe. They are connected by the network of lines
which make up the three interlocked triangles and the nine
points thereof.

The triangles represent the angles of Space-Time
through which the Will of the Initiate extends in order to
influence and shape the world. The points where the triangles
touch the Circle are representative of the nine worlds.

In Northern lore, the symbol of three interlocked
triangles is known as the valknutr and is a glyph particular to
Odin. The name literally means 'knot of the slain' and this is a
highly appropriate title. Odin - and the Odian Initiate -
possesses the power to loosen and to bind the knots which
hold reality together. To use the valknutr is to alter the
underlying nature of reality, rebinding it into a new
configuration.

But note that this is the knot of the slain. This title is
not idly used. Every time you use magic, you kill reality as it
stands and substitute a new one. It is no longer the same
thing. You kill thousands of possible futures, preventing their
manifestation, but open up thousands of new possibilities.
Your actions as a magician destroy things which would
otherwise have come to pass had you not interfered. They
also create things which would otherwise never have
happened. You cannot take this lightly. This is the
responsibility that goes with being a magician; this is the
burden that you must bear.

There is another factor, which is often forgotten, a
simple statement that contains infinite warning: when you
exercise your Will to change the world (the Dragon without),
the Dragon within also changes in like measure. Your acts of
magic change your very Self in every instance, whether you
realise it at the time or not.

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Ginnungagap II:
Opening the Eye in the Void

The question now facing the Initiate is: how precisely does
one use one's Will in such a way as to loosen and rebind the
valknutrl How do we actually change reality? In what way is
the magic effected?

The process whereby the Will is focused in order to
carry out this task is known as 'the opening of the Eye in the
Void' and it is a task of the Dragon within, the state of
Draconian consciousness symbolised by Fafnir.

Let's examine the precise mental processes that entail
opening the Eye in the Void, laying bare the manner in which
the Draconian Initiate works his magic. Following this, I will
list some of the ways in which these processes may be
enhanced to suit the individual practitioner.

1. Having entered a trance state, the Initiate turns his mind
inward, focusing upon the creative, magically-charged
Void that is Ginnungagap, the primal Chaos in which all
possibilities are latent.

2. Once an awareness of the expanse of the Void has been
achieved and the Initiate is able to sense the threads of
possibility stretching beyond him, he must bring to mind
the various elements of the situation he wishes to change,
envisaging that situation as it currently is. In particular, he
must clearly define / visualise three key aspects: [1]
himself as he currently stands in relation to the situation;
[2] his goal, or Desire (for more on Desire, see chapter
seven); [3] the environment / obstacles / events which lie
between himself and his goal. These three key factors
must resonate within his clear perception of the situation
as a whole. This may seem like quite a feat of

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concentration and visualisation, but if the matter is truly
important to you, you will be able to achieve it if you take
your time and build up the mental image step by step.

3. When the above points of focus are clear and stable, the
Initiate Wills his centre of mental focus to take shape in
the form of a great reptilian Eye in the centre of the
triangle formed by the three key points. He deliberately
allows the Draconian consciousness to arise from his deep
mind, remembering all that he has learned of it in his
Work to this point.

4. The Initiate fixes the Eye of the Dragon upon the three key
points of the situation and begins to establish a vibration
throughout the Void, keyed to his breathing pattern. This
resonance builds and buzzes, loosening the bonds that hold
the situation in its current state. This is the 'untying' of the
valknutr knot.

5. The Initiate next replaces point [3] with a new vision of
the situation as he wishes it to become. He focuses his
concentration, stabilising the new pattern by an act of
Will.

6. Now comes the crucial moment, the act of 'binding' the
altered matrix of happening. The Initiate does this by
holding his attention rigidly upon all three key points at
the same time, maintaining full awareness of each. It may
take seconds, or many minutes, depending upon the
situation and your own experience, but an ecstatic moment
will arise - almost a mental orgasm in its intensity - when
the Eye in the Void 'bridges' all three points and binds
them together in a single transformative unity. Since one
of the points is the magician's own Self and he is changed
by his Work, the ecstasy arises as his own being is
transformed by the magic. Hold this moment of binding
for as long as possible, until it begins to fade, then let it

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go, allowing your mind to return to its normal function.
7. Open your eyes and stamp about the place to ground
yourself. Cease fretting about the situation and let it be,
confident that you have rebound its parameters and
changed its trajectory by your Will.

These are the basic steps involved in the process known in the
Order of Apep as 'Opening the Eye in the Void', which is the
fundamental means of Draconian Magic. There are several
ways in which an Initiate can enhance this bare process, both
for aesthetic purposes and also to better clarify and express
his Will. Some of these means are suggested below:

• Whilst this process is simple enough to use purely on the
mental plane, many Initiates will prefer to employ a more
formal ritual construct around it. I would suggest using
the tools already described in this book and working them
into a ritual framework, with the Opening of the Eye
ocurring at the climax of the rite.

• A bind-rune, chant or other means can be used to focus
and direct the Will at step [6] above, binding the changed
pattern into the structure of reality.

• A suitable skrying device can help when first
conceptualising the Void at point [1], staring deeply into it
in order to enter the trance state. This could be a small
pool of ink or something similar. I personally use an egg
of obsidian.

Practice will make the processes of Will and imagination
involved in Opening the Eye in the Void come naturally in
time. This is the very heart of any Working of successful
Draconian Magic and it is important to get it right and
become utterly familiar with this state of consciousness.

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The Tripartite Treasure

We have so far discussed the manner in which Sigurd kills
Fafnir and assimilates the Draconian Essence into his own
Self, becoming the hero of legend. We have also looked at
two of the powers he obtained from the Dragon as a
consequence of tasting its blood: the Mgishjalmur itself and
the ability to understand the tongues of birds and beasts. But
from the Dragon's hoard, Sigurd took three items of supreme
worth, which signify some of the magical abilities - directly
related to the integrated Draconian Essence - which the
Initiate at this stage of the curriculum might expect to start
manifesting.

A large amount of gold

The bulk of the hoard consisted of a very large quantity of
golden treasures. The Draconian interpretation of gold was
discussed earlier when we looked at the fehu rune, but to
briefly recap, gold / money is a medium of exchange. It is a
transformational power which should flow like a river
through the hands, vitalising and enriching its owner and
those he directs it towards. Gold is intended to flow, to be in
constant motion, else it turns into the Dragon's breath and
simply consumes and devours. The gold of the hoard
signifies the hero's ability to reach out and create change in
the world; he now has the means to accomplish his wishes. In
its most positive aspect, gold is a catalyst which speeds and
eases our path; in its most negative aspect it is dammed up
and hoarded and leads to the 'strife of kinsmen' which proved
to be the doom of Sigurd.

Sword and mail

The second significant set of items from the hoard are

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Sigurd's arms and armour: a sword and a suit of golden mail.
In the Old Norse material, the sword is given the name Hrotti
and in The Nibelungenlied it is said to be the sword of King
Nibelung, named Balmunc. In either case, the symbolic
significance remains the same. Sigurd takes on the tokens of
the hero, the sword to win his victories and the golden armour
to give him protection. In some ways, these echo the bite and
the scales of the Dragon, transfigured into a new, heroic
model that shines like the sun. Sigurd now bears the means to
strike down his foes, achieving his Will in the world, and the
strength of Being and integration of character which will
render him impervious to the malice of others. The golden
colour of the armour is significant in asserting the regal
nature of its wearer; the sword was also a mark of great
status, deemed superior to other types of weapon.

A magic cloak

The final treasure, according to The Nibelungenlied, was a
magic cloak known as the Tamkappe. This cloak was used by
Sigurd to win Brynhild as wife for Gunter by deception. It
had the power to deceive, to render the wearer invisible and to
boost his strength. It is clear that this 'cloak' is the same
sorcerous tool known as the JEgishjdlmur - the Helm of Awe
- in the Old Norse sources. The magical powers and
adaptations of the Helm have already been extensively
discussed.

As the Initiate enters this stage of the curriculum, he should
be actively trying to manifest the qualities of these three
treasures within himself in order to prove his own heroism
and assert the integration of the Draconian Essence fully into
consciousness. He needs to learn to live his life in the way
that he chooses to do, cutting off those things that tie him

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down and embracing the path that his own Will and Desire
choose for him. This can entail changing jobs, relationships,
location: the whole contents of your life are up for
examination and evaluation as you seek to learn how to flow
through life, following your Wyrd, instead of being shackled
by circumstances. To accomplish this task, you must turn
your Will into a sharp sword, capable of severing bonds and
cutting through obstacles, and you must learn to trust in your
own emergent Destiny (see later in this chapter) to see you
safely through the consequences of the changes you instigate.
Finally, of course, you must use the magical powers of
enchantment encoded in the Helm of Awe to bend the world
to your Will, remoulding it to support your feet as you enter
the realm of Mystery and go out on a limb. Claim the
treasures of the Dragon's hoard and the JEgishjdlmur will
come to blaze upon your brow.

Volsungadrekka - A Working

By this stage of our curriculum, the Initiate should have
completed all the crucial groundwork. As well as gaining
familiarity with the runes and learning to feel and steer their
flow in both himself and the world, he should also have begun
to grasp the great Mysteries that lie behind this manifest
world of Midgard; Mysteries of both his own soul and the
Universe.

This is the point at which the base of the initiatory
pyramid has been firmly built (or at least it will have been if
you have practised your exercises correctly). Now it is time
to seek after the Mysteries which are guessed at by few and
found by fewer. To prepare for these ordeals, it is necessary
to concentrate what we have so far learned and experienced of

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the Draconian Essence, focusing it intensely and then
partaking of it and Willing it to transform us, just as it
transformed Sigurd and elevated him to the greatest of all
Germanic heroes. The following Working should be
performed with all solemnity and concentration, taking your
time over each element, allowing the invoked runes to
transform you. This is a ritual re-enactment of Sigurd's
transformation through the blood and venom of Fafnir. In
many ways it is a restatement of the Tafnir's Hoard' Working
in chapter two, reaffirming that earlier Working with the
Understanding you have since gained.

Volsungadrekka means 'drink of the Volsungs' and is
a direct reference to the transforming power of Fafnir's blood
upon Sigurd. It was also the title of a booklet published by
Order Initiate D.V. Graal which explored some of the
Mysteries of this transformation, and was later reprinted in
Runa magazine.

1. Begin by sitting quietly for a few minutes, stilling and
centering your body and mind.

2. Open the ritual. This may be as simple or as complex as
suits your own magical aesthetic. The Hammer Rite
described in Edred Thorsson's Futhark is a good opener
for any Working of Northern magic.

3. Invoke Odin and ask Him to unveil to you the Secrets of
His favourites, the Volsungs.

4. Invoke each of the following runes, either by stadhagaldr
or rune-singing or a combination of both. You should
meditate upon the statements made below; you may find it
helpful to speak them aloud. Take time over this, fully
experiencing the essence of each rune as you summon the
Essence of Fafnir.

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• P - I have bathed in the Dragon's flame. Its blood and
venom course through my veins, strengthening me, for we
are become as one.

• t - The Divine consciousness pours down upon me,
breathing the Gift of Odin into my mind, illuminating me.
Thus I am made stronger and rejuvenated by my ordeals,
made anew with each moment, for I am kin to Odin.

• P - The Dragon's gold is mine to claim, its treasures are
mine to wield. I will open my hands and the gold will
flow from me like water, enriching the Earth, for it will
have no dominion over me. For I have become one with
the Dragon.

• I - The flame grows now within my own spirit, the fire
and venom that leapt from the Dragon's jaws, devouring
the obstacles that are set against me, for we are become as
one.

• I - The powers of the Dragon are concentrated within me,
for me to command as I Will, balanced and regulated by
the focus of my own consciousness, for I am kin to Odin.

• T - I hear the call of the Valkyrie in the core of my soul,
the inspiration of the one who is my Other, elevating my
consciousness to realms undreamed of, for I am kin to
Odin.

5. Take up the drinking horn or chalice and hold it directly
below your mouth, so that you are breathing into it. Sing
the names of the six runes into it, infusing it with the
Draconian Essence: Fehu - Ansuz - Fehu - Naudhiz - Isa
- Elhaz.

6. The chalice may be filled with the traditional mead or ale
used in Northern tradition. For the present Working, it is
best if the liquid used is one which has a definite 'warming'
effect as it is swallowed. Cherry brandy comes highly

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recommended for the suitability of its colour, consistency,
scent and the heat which suffuses the body as it is drunk.

7. Drink the contents of the chalice, feeling the liquor's fiery
course as it flows into your body. Strongly affirm this to
be the blood and venom of the Dragon. The venom
dissolves the bonds, conditioning and inhibitions that
restrict you and the blood awakens the Dragon within,
forging its Essence into a union with your sense of Self,
hereafter accessible directly by your consciousness. Feel
yourself recreated and renewed.

8. Devise a bind-rune to express your realisation of this
Draconian awakening. Ensure that it prominently features
the elhaz rune to prefigure your aspiration for the next
stage of your transformation. Draw or carve this bind-rune
onto paper, wood or leather. You should display it in your
future magical Workings as a statement of your
attainment.

9. Visualise yourself taking up each element of Fafnir's
hoard, thinking hard upon what each symbolises: the
golden treasure; the sword and armour; the magical cloak.
Finally, see your bind-rune blazing upon your own brow,
representing the ALgishjalmur.

10. Spend several minutes standing in the elhaz posture,
fervently aspiring to the Divine, visualising a radiance
descending upon you. Know that it is your Destiny to
touch the source of this radiance.

1 1 .Close the ritual with the words: "So It Is Done!"

This Working will not only serve to consolidate your Work to
date, fixing the Draconian Essence within your
consciousness, but will also prepare you for the Work of the
next chapter, preparing your psyche for the transformations
still to come.

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Runa

Mention has already been made that the twenty four runes of
the futhark row are themselves but aspects of the Ultimate
Rune - Runa - which is Mystery itself. I would be
disappointed if everybody following this curriculum had not
had at least an intuitive glimpse of this truth by this point.
But it is now time that we started to look at Runa a bit more
closely and to examine the implications of the concept.

Runa is the Word of the Magus Stephen Edred
Flowers and it is upon this Word that Edred founded the
Rune-Gild. The Formula associated with the Word - and the
sole task of all Gild Initiates when it all boils down - is Reyn
til Runa!, which means 'Seek After the Mysteries!'

To place the preceding paragraph in context, a Magus
is one who Utters a sacred Word, the meaning and implication
of which revolutionises the current of magical thinking and
the world itself. The Formula is an expression of the Word in
action.

Runa - Mystery - is the Key to all of our Work. It is
the thing that makes us get out of bed in the morning. It is the
whole aspiration of and motivation for magic, indeed for life
itself. It is Runa that stirs you to find out what lies over the
next hill. It is Runa that teaches you the distinction between
your Self and the world outside of your Self. It is Runa that
engenders Desire, not only for the things you see and want,
but for the things you can only imagine. It is Runa that
makes the extraordinary happen in the midst of the mundane.

Some of the things in the above list prefigure the
Work of the next chapter, but it is as well that they start to
gestate within your mind now. This too is a function of
Runa. Also, bear in mind that Runa is often deemed to be a
Lady by those who follow Her call.

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It will be immediately apparent that Runa can only
manifest via consciousness. The insensate neither knows of
nor cares for Mystery. The Quest to Seek After the Mysteries
arises from our awakened consciousness and that Quest will
expand the horizons of our consciousness in ways we could
never have imagined as we pursue it. It is important to
meditate upon this Key now and come to Understand it.

Spend some time now to contemplate how the
concept of Runa applies to all you have learned so far. What
is the Draconian Mystery that lies at the heart of this book's
curriculum and in what ways can you seek after it? In your
meditation, you would be well advised to consider again the
Seal of the Order of Apep, with its central Eye, three
Triangles and outer Circle. Consider the tension that exists
between the Dragon within and the Dragon without. Consider
the angles and lines of Wyrd - possibility and potential - that
extend between them, carrying the Unmanifest into
manifestation. Learn to Understand, recognise and embrace
this Mystery.

The Sacrifice of self to Self

We are now going to talk of a very great Mystery. It is the
Mystery of how Runa was first sought and perceived; the
Mystery of how Odin discovered the runes; the Mystery of
what He sacrificed in order to do so, and Who He sacrificed it
to. For if you are to progress any further, you will need to
prepare yourself now and make the same sacrifice yourself.

The first step in this process of sacrifice is the
intuitive perception of the presence of Mystery. It is the
realisation that the Universe is more than you realise. It is the
knowledge that your own Self is larger than you know. It is

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the Understanding that you have not yet begun to Understand.
You must begin to yearn to see what lies beyond the horizon
of your current limits of consciousness. You must begin to
Desire the secrets which transform potential into
manifestation.

This yearning for Mystery will impress upon you how
miserably small you really are when compared to the entirety
of the Universe, and how miserably small the Cosmos itself is
when compared to the infinite paradoxes and possibilities
which are latent within Ginnungagap. But it will also awaken
you to the realisation that your own consciousness is also
immeasurably greater in potential than your meagre everyday
thought processes. The very fact that your consciousness is
able to raise these questions and dare to ask them should alert
you to the fact that it has the capacity to find answers for
them and to Understand this immensity. So the question
before you becomes: how can I set aside my piddling little
concerns and replace them with this Understanding, this
greater consciousness which lies concealed within me?

Odin felt this very yearning when He sought the
Mysteries, establishing the pattern for we mortal Initiates to
follow. So let's pause to examine the passage in Havamal
where He describes His ordeal (translation by W.H. Auden
and P.B. Taylor:

Wounded I hung on a wind-swept gallows

For nine long nights,
Pierced by a spear, pledged to Odhinn,

Offered, myself to myself

The wisest know not from whence spring

The roots of that ancient rood

They gave me no bread,

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They gave me no mead,

I looked down;

with a loud cry

I took up runes;

from that tree I fell

The only thing that we can offer up in sacrifice to wisdom is
our own selves. European traditions strongly emphasise the
sovereignty of the individual, but we have now realised that
the everyday personality is not the sovereign Self; it is a poor
usurper, a mere shadow of the fully integrated soul. So we
must dethrone that lesser ego, offering it up as a sacrifice so
that the greater Selfhood may assume its place, consuming it.
As we shall discover in the next chapter, this is not the death
of the ego / personality, but it is the end of its rulership as it
becomes but a single part of something much greater.

How are we to accomplish this sacrifice? By
revisiting the Work that has been done so far. Firstly, still
your body and mind, quieting the everyday ego and holding
the Void open for the greater consciousness which will rush
in to fill it. Meditate in silent anticipation of this event.
Secondly, reflect continually upon how you have integrated
the Draconian Essence into your consciousness, drawing it
out of the primeval mists to unite with your awareness. Then
reach forward with your mind to grope for that Essence which
may be reaching back to you from the other direction, the
super-evolved consciousness arising in the unshaped future.
Thirdly, when you have practised hard with both of these two
methods and have achieved some glimmer of realisation, you
must re-enact Odin's sacrifice.

It would be preferable if you could arrange for some
time off work, a working week (including both weekends, for
a total of nine days) would be ideal. It would also be helpful

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if you could arrange to spend this time altogether alone.
Leave the television and radio switched off, ensure you have
enough food in to avoid going shopping, basically prepare for
a few days' existence as a hermit.

This, of course, is an ideal situation and very few of
us live in circumstances where we can arrange our lives to
that degree. Sometimes work, family and mundane demands
do intrude and there is absolutely nothing we can do about it.
So we just have to do the best we can; this is not an excuse to
postpone the work. Just be sure that you have made what
arrangements you are able to the very best of your ability and
are not guilty of shirking, for the Self to whom you now offer
sacrifice can see through all of your deceptions, since it is you
yourself at a much higher resonance.

At the very minimum, ensure you can be completely
undisturbed for an hour or two each evening and put your all
into that time. During the rest of the day, avoid conversation
where possible except as absolutely necessary. No chit-chat
or passing the time of day. Watch no television and be
generally withdrawn and introspective in all ways.

There are three elements present in Odin's sacrifice
which you must now enact for yourself:

1. He was 'pierced by a spear, pledged to Odhinn'. Now we
certainly don't want anyone literally impaling themselves,
but remembering that blood is used to stain and enliven the
runes, you might wish to smear a little fresh blood on your
set of hand-made staves to rededicate them to this purpose.
But the main focus is that of offering up the limitations of
the everyday personality in sacrifice, so that a higher
Understanding may descend and infuse you.

2. 'I hung on a wind-swept gallows for nine long nights'. And
so must you. This gallows is Yggdrasil itself, the World-

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Tree. You may simply sit in long meditation upon this
fact, extending yourself upon the worlds of the tree. But
for maximum effect, you may wish to literally suspend
yourself, perhaps looping a rope over a beam or a tree
branch so that you can hang there by your wrists. This
bondage will alter both your body chemistry and the
intensity of your aspiration.
3. They gave me no bread, they gave me no mead.' You
should fast for the duration of the Working, taking only
water to drink when you need it and eating but a small
amount of light food at the conclusion of each night's
Working before you retire.

You should now spend nine nights in deep meditation, with
your handmade runestaves strewn on the floor randomly
before you. Consider the patterns they make and the
meanings they infer. As the nights pass, increase the fervency
of your aspiration, your Desire to behold Runa directly and to
experience the flaming touch of true divinity brushing against
your own mind.

On the ninth night, you cannot fail to awaken if you
have prepared correctly. Allow the sense of divine ecstasy to
take you and ride with it, wailing aloud even as Odin did
when He experienced this transcendence, this enlightenment.
Then, when the experience subsides, take up your runes as if
you knew them for the first time.

This Working should change you dramatically,
altering your priorities and your outlook. Even so, don't make
the mistake of thinking that this is a one-time only experience.
You will pass back and forth from wakefulness to sleep many
times, until gradually the former state may begin to
predominate. Nor is this the only kind of sacrifice that may
be required of you. Remember how Odin also sacrificed His

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eye to Mimir's well. This is not the end of your road of
Initiation, it is the crossing of a frontier from one country to
the next, but the journey continues.

The Wode-Self Awakes

Two parts of the soul complex really begin to come into their
ascendancy at this stage of the Work and you should sense
each of them as they begin to stir within your mind and
rearrange its contents to gravitate around their own mighty
presence. The first of these aspects of Self, which should be
stirred into wakefulness by the preceding rite, is the Wode-
Self. This is that higher, more essential Self to which the
lower self or ego is sacrificed.

Let's briefly recap what was written about the Wode
when discussing the parts of the soul earlier: "Wode is a
condition of accelerated, intensified consciousness, a Divine
inspiration, a kind of ecstasy or even rage in which the
contents of the mind are illuminated by magical perception
and insight."

In other words, you can expect to experience a
heightened state off consciousness, one inspired by the touch
of Divinity itself, inspired and ecstatic. This consciousness is
not something outside of yourself, it is your Self. It is that
part of you most capable of peering between the worlds and
seeking the Mysteries. It is a part of you which is
qualitatively different from your normal, everyday awareness
and which can be rapidly sealed away behind mental barriers
again by the drudge of your daily routine. It is not something
new, it is something which has always been there, but beyond
the threshold of your ordinary ways of thinking, occasionally
seeping through in the shape of intuitions and startling

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realisations which you cannot explain the origin of.

You will not be able to sustain this awareness for
long, your habitual modes of thinking will reassert themselves
and the old barriers will once again close off your mind. But
once experienced, the phenomenon of Wode is never
forgotten and it will begin to resurface with ever-increasing
frequency, especially if you take the trouble to actively reach
out for it. The entire structure of your Self will be irrevocably
changed by this Working, as new links are forged between
aspects of you and a greater degree of wholeness and
integration is achieved.

Wode, is of course, derived from the name of Odin,
and this higher consciousness is a manifestation of the spirit
bestowed upon mankind by Odin, the gift of Self-awareness.
Through this rite of sacrifice, the giving of self to Self, we
awaken the same ecstasy and inspiration that Odin Himself
experienced; we awaken that consciousness within us which
is directly linked to the Divine source of all consciousness,
the All-Father.

The Fetch

The fetch, or fylgja, is another aspect of the soul that you will
probably begin to first become consciously aware of at about
this time. This is a tutelary spirit which will set you specific
initiatory challenges. We will examine the nature of those
challenges and the nature of the fetch itself in the next
chapter, but it is likely that you will intuit the first inklings of
this entity prior to that and you should begin to keep an eye
open for them now and record meticulously any strange
things that may happen.

Remember that according to the lore, the fetch may

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manifest in any one of three different guises: as a human
figure, generally of the opposite sex to yourself; as an animal;
or as a geometric shape.

Now that you have integrated the Dragon and have
begun to stir the Divine spark of pure consciousness into
wakefulness, the fetch will be actively seeking to connect
with you, so be alert for it. Its approach will be highly
personal in nature, so I can offer no further guidance than that
at this point, it is up to you to be watchful.

Orlog - The Sense of Destiny

It is also at about this time in your Initiation that you will
begin to develop a sense of destiny, the feeling that you are
living toward a purpose that may yet be unseen, that there is a
distinct trend in the direction you are heading. It is important
that we should understand what this sense is and where it
comes from.

Destiny, or fate, plays an apparently large part in
Northern tales. Seeresses are able to foretell the future; the
three Norns - Urdh, Verdhandi and Skuld - abide at the roots
of Yggdrasil, weaving the pattern of past, present and future;
you have probably heard of the web of Wyrd, the tapestry of
all events throughout time, connecting all effects with all
causes. But actually, it is not quite so straightforward as these
first impressions would suggest. We need to investigate the
matter a lot more closely than this.

Firstly, it is necessary to understand that for the
people of Northern Europe, the future is unshaped. There
exist those events that have already happened, which have
inevitably led to the present moment. But there is no future,
because the future has not yet happened. Edred Thorsson has

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pointed out in his writings that unlike most other languages,
the Germanic group of languages (of which English is one) do
not have a proper future tense. It is possible to reference the
past, by saying "I drank the beer". It is possible to reference
the present, by saying "I drink the beer". But we cannot
directly reference the future. Instead, we have to add another
verb to fudge the issue, saying "I will drink the beer". But
this statement does not inform us that some future event is
going to happen. It is but a statement of intent. We can
rephrase it as "It is my intention to drink the beer". We
cannot use the English language to reference the future
directly, as we can the past or the present. This is strongly
indicative of how our ancestors thought of such things, and
the language we use affects our own thinking and concepts
now.

If this is the case, if our forefathers saw the future as
an unwritten page, what is Wyrd? How could the
prophetesses and practitioners of seith foretell the future?
What was the point of casting the runestaves for purposes of
divination?

Wyrd is not an account of what will be; it is a
complete picture and understanding of all the intricate cross
connections in the past that have led us to the present
moment, all of the causes and all of the effects, together with
all of the synchronicities and resonances that have rippled
sideways in mysterious ways. By analysing these patterns of
events, it is possible to determine the manner in which the
pattern is likely to continue to unfold, and thus to determine
the likely direction of future events. But these events have
not happened yet; they are merely most likely to happen given
the prevailing patterns of manifestation. The magician
understands that behavioural patterns in human activity tend
to follow set courses through to completion. Of course, it is

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always possible for individuals with Will, imagination and
perceptiveness to abort a pattern of behaviour and bring about
something completely different. Such is, in fact, the essence
of magic.

These behavioural patterns when aplied to individuals
are named orlog, an Old Norse word that means something
akin to 'primal layers'. This term is suggestive of habitual
actions or modes of responding. Orlog is the sum of the
patterns and the automatic responses we have built up within
ourselves over the course of our lives. As such, it is
indicative of the manner in which we are likely to respond to
any future stimulus; it is the established precedent.

As we consider this question of Destiny now,
therefore, it would be a worthwhile exercise for the reader to
spend a month or so observing his own responses to whatever
situations he encounters on a daily basis. Learn to recognise
your first instinctual response in every case and try to trace its
origin. Root out and list your habits, become aware of them.
Make a chart of just how predictable you are. You will find
this an astonishing exercise if you carry it out thoroughly.
Finally, meditate upon all that you have learned about
yourself and pledge yourself to observance, so that you can
act instead of reacting in future.

It should be noted at this point that the Germanic
perspective upon the future actually provides for two possible
interpretations. You should meditate upon both of these,
weighing their merits. Such meditations upon the nature of
time will stand you in good stead when you reach the Work of
chapter eight. The first concept is that the future is
completely unshaped and happens only as we reach it. This
might be termed the orthodox interpretation. But the often
outlandish ideas of quantum physics propose the intriguing
idea that all possible futures exist and that we steer our course

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through these possibilities, selecting which time stream to
actualise on this plane of reality. This latter model is
delightfully paradoxical, allowing for both complete
predestination and total free will both at the same time, within
a single model. There is something about this which is
magnificently Odian. Again, we shall be returning to such
considerations in chapter eight.

So what does all of this mean when we consider
Destiny? It means that the notion that our fates and the fate
of the world are set in stone is erroneous, but it allows that
our paths into the Is-To-Be may be predictable to a greater or
lesser degree. It also means that the patterns established by
past events and modes of behaviour acquire a kind of gravity,
wearing grooves of least resistance into probability, steering
cause and effect along certain lines (orlog). That which has
happened once is most likely to happen again. That which
has happened several times will most definitely happen again.
If time is a stream, it rarely flows up mountains, it tends to
follow a well-worn course.

But it will have occurred to you over the course of
your Work so far that much of magic is concerned with the
threefold process of: (a) identifying the aspects of our Self;
(b) pruning those patterns of behaviour which are not
conducive to our Will; (c) creating and establishing new
patterns of behaviour which will lead to the fulfilment of
Desire.

This raises the intriguing notion that an Initiate
creates his own behavioural patterns and takes absolute
responsibility for his own deeds. We therefore produce our
own orlog, which resonates with our magical Will and
Vision. Thus, as we progress along our Path, our every action
- indeed, our every intent - builds up a magical momentum, a
tangible force which drives us on in our direction, following a

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very real Destiny which we have in fact created for ourselves.
You should take time to meditate upon this fact and
consider its full ramifications, for it will inform everything
that you do from this point onward. Here is that lesson which
I am always keen to point out: do not work magic unless you
yourself are willing to be changed thereby.

A Creature of Midgard

All of these weighty questions and realisations which occur at
this stage of the initiatory journey give rise to one final
question which we need to consider before leaving the Work
of this chapter: this is the question concerning the enormity
of the Universe, and what is my place in it?

It is at this point that I am going to make one of my
most dramatic departures from many schools of Initiatory
thought and spiritual ideas. It is normal in such schools (or at
least those which know their onions) to assert that their
Initiates are gods, or are becoming gods and are just one step
away from omnipotence. This is an absurd assertion.

How many people have you met who lay claim to
exalted titles, who pronounce themselves portentously to be
gods in the making, but still have to push their trolley round
the supermarket the next morning, nosing for bargains? This
ego-inflation is one of the greatest dangers of magical practice
and the stage which you are now at if you have been
following the Work so far, is the stage at which it reaches its
maximum threat.

I am not for one moment denying that there is a spark
of the Divine in humankind. This is the Gift that Odin placed
within our species, awakening us. This is the kinship that we
share with the All-father, the ancestral, sovereign God. But

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that Divine spark moves within us and brings us into
manifestation in the sphere that is ours. We are not Gods, we
are men and women. We should seek to be the best, most
Divinely inspired and enlightened men and women we can
possibly be, but men and women we are and remain.

Much of the confusion regarding this question arises
from the introduction of alien notions of Godhood into
European thought. In original European thinking, the Gods
are in the blood, They are not omnipotent, They are not
omniscient and They are not omnipresent. In a philosophy
that postulates a cosmos shaped from the Chaos of the Void
by Will, a cosmos which is susceptible to continual change
and renewal, such concepts simply do not fit. The cosmos
tends toward manifestation and the Gods are among the forces
that shape it and direct it toward those ends. Humanity arises
within that enclosure of manifestation, Midgard, but we
possess the Odian Gift of consciousness and thus are able to
conceptualise the worlds beyond this one and use our Wills to
shape this world to our needs.

Humanity is not in a 'fallen state'. We stand in that
place to which the whole Universe is tending and we ride the
wave into the Is-To-Be. Is this not the most glorious place for
us to be? Is this not the very cutting edge of creation? Not a
withdrawal into some 'heaven', but a progression into
manifestation? Consider well who you are, where you are,
and how you got here. These are the most important
questions you can now ask yourself.

We will return in part to this question in the next
chapter when considering the question of immortality, but be
sure to understand the imperative here first.

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CHAPTER SEVEN

THE MYSTERIES OF DESIRE

Runa as the Lady

In this chapter, as the title suggests, we shall be looking more
deeply into the feminine Mysteries concerning Freyja and
Runa. We will also be examining the importance of Desire to
the Initiate and the way in which it manifests as an Initiatory
tool, and as a power source for operative sorcery. The ideas
touched upon here have significant implications for the lore
of the soul, so we will be returning to that subject with a more
experienced eye and considering the implications of our
Initiatory Path as regards the possible immortality of the soul.
It is important to begin this chapter with a reiteration
of one of the key facts mentioned in the previous chapter:
Runa is often figured as a Lady. She is Faust's Eternal
Feminine, who draws us ever on. Think about it and you will
see how apt this description truly is. I am not going to labour
the point, although I will certainly be returning to it and
touching upon it again throughout this chapter. But I want to
state quite clearly that everything that is said here about

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Desire and the Other applies first and foremost to the pursuit
of Mystery Herself, which is the first and only law of the
runer. Reyn til Runa - Seek after the Mysteries. Bear this in
mind through all that you read. It would be well to set aside
some time to meditate regularly upon this idea throughout the
practice of this chapter's arts.

Freyja - Goddess of Eroticism, Sovereignty and War

We have already touched upon much of the symbolic
attributes of Freyja in chapter one and have begun the process
of exploring Her magical techniques in chapter five. I would
recommend returning to those chapters to study anew the
relevant sections now, illuminated by the light of the Work
you have already accomplished and the Understanding you
have won. It would also not be a bad idea to return to the
Eddas to look afresh at the source mythologies concerning
this Goddess, for She is crucial to the Work of this chapter.

There are three major functions which pervade the
essence of Freyja and which are of utmost importance to the
Initiate at this stage in Initiation. The first of these is
eroticism; the second is sovereignty; the third is war. All
three of these themes and principles will weave in and out of
this chapter. In some cases, their influence will be obvious, in
other cases it will be subtle. But it will always be present. It
is up to the reader to raise up the standards of these three
Divine principles at the forefront of his mind and to ask as he
progresses through the Work of this chapter, "In what way
does this reflect upon the Work of the erotic principle? How
does this establish my sovereignty? What am I championing
here? Against what am I fighting?" If you remember to keep
those questions in mind, and if you can furnish answers

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through your own insights, then you will do well.

In most modern religions, it is unheard of to hear
eroticism associated with the Divine. This is because most
modern religions are alien and antagonistic toward the values
and principles of our ancestors. They have lost the sense of
being descended from the Divine in very flesh and blood.
They have concerned themselves with a retreat into a
heavenly daydream and have lost sight of the fact that the
universal imperative is toward manifestation. They have
separated flesh and spirit, when there can be no distinctions
between the two; both are but aspects of the Whole Man.
They have forgotten pleasure and delight, the sheer joy of life
and the appreciation of what it means to be alive. And any
God who forgets that, or allows his followers to forget that, is
not worthy of the title.

Freyja is under no such delusions. She is a Goddess
in whom Desires runs deep. So don't hold back and be stiff-
necked and aloof when you address Her, as if afraid to offend
a maiden aunt. Laugh and be joyful. Your Desires are Her
worship, your pleasures and joys are Her manifestation.
Make no mistake.

Sovereignty is a central focus and goal of the Work of
this book. The aim is for the individual to ascend to the
throne of his own being and to become the sovereign of his
own world. You are the ruler of your own life, you and no
other, and this is a principle championed by Freyja.

As for war, we all wish to live peaceful lives, but
there will come those times when we need to fight for what
we believe in, what we cherish. When others try to topple
your sovereignty, you must repel them; when your Desires are
difficult to explain, you will need to fight to achieve them.
But the greatest conflict of all is the Invisible War, the
struggle between consciousness and conformity.

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The Eternal Feminine

"Everything that can be perceived

is only a symbol;

the imperfect, which cannot be realized,

here makes itself reality;

that which cannot be described,

here finally completes itself

It is the eternal feminine,

always attracting us to the higher. "

Goethe - Faust

If there is one thing which most characterises the struggle of
the soul as it reaches this point of its initiatory journey, it is
the Desire of the Self for the Other.

This Desire for the Other is described perfectly in the
quote from Goethe, above, and he so accurately labels it 'the
Eternal Feminine'. This is why Runa is so often envisioned
and addressed as a Lady.

For isn't this the ultimate manifestation of Runa?
The search for the Other, for that which is not yourself- i.e.
that which is Mysterious and Unknown to you - and yet
which is the perfect mirror and complement for yourself?

This Desire may be traced and analysed in order to
better understand and direct your Quest. In the previous
chapter, we mentioned orlog, the 'primal layers' which steer
behaviour down certain avenues, shaped and weighted by the
decisions and actions we have made in the past. We may
examine this orlog in order to determine the shape and the
essence of our Desire.

Take some time to think back over all of your
previous lovers and crushes. Who have you ever fancied,

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when and why? Make an exhaustive list of all the people who
have ever caught your eye.

You now have a lengthy catalogue of the individuals
you find attractive. Now work your way back through the list
with three highlighters to hand. Highlight those who you find
so beautiful that it's actually painful in one colour; those who
are very attractive but not quite so eye-searingly gorgeous in
another colour; those who attracted you because of a single
specific feature or two in the third colour. (Note that at this
stage we are concerned only with physical attractiveness, not
the personality of the people.)

Next you should concentrate upon that smaller group
corresponding to the first category, your ideals of absolute
beauty incarnate. Try to synthesise an ideal Form out of these
various expressions until you are left with a clear perception
of your perfect ideal of Beauty. You should use all of the
creative tools at your disposal when carrying out this task.
Draw, paint, sculpt, model, write effusive descriptions. If you
have the technical know-how, use computer 3D modeling
programs; even the character creation routines for many
recent video games will prove useful. But do not rest until
this ideal image is real in your mind.

Now turn to the complete list of all three categories.
Start making a list of the recurring features which repeat time
and again in those you find attractive. What features stand
out? Perhaps it's a specific eye colour? A snub nose? A
particular hairstyle? Write them all down. Write, analyse
and condense until you have a list of the most repeated
descriptors. Then spend some time considering why these
particular things are so attractive to you. Don't look to books
for answers, you must find your own. When did each feature
first grab your attention? Trace back your erotic triggers to
their very origins in a series of meditations and don't rest until

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you have successfully done so.

These exercises in evaluating and categorising your
own erotic / aesthetic triggers will greatly enhance your
awareness of such triggers in your future erotically charged
encounters. On the one hand, this will enable you to retain a
measure of control since you will understand what is
happening. Thus you will be able to act instead of reacting,
you will not be a puppet to be played on strings. On the other
hand, it will allow you to take those triggers to new peaks,
creating an epicurean aesthetic and erotic consciousness from
your own past experience. More importantly than either of
these two immediately life-enhancing factors, however, is that
your new Understanding of your erotic imprinting will
provide a clear and well-defined channel through which the
Other may manifest.

This exercise should also have made it apparent to
you that your personal erotic and aesthetic triggers that
govern attraction are something within yourself, a set of
features and proportions that have acquired a particular
imprint for you personally. In other words, in the initial
stages of attraction, it is ourselves we are invoking and
interacting with, not the other person. Our standards of
beauty are projected upon them and we experience an erotic
response when a certain level of resonance is achieved.

Past that point, you have no claim over the other
person. As Aleister Crowley declared it, "Every man and
every woman is a star." There can be no possessiveness or
'ownership' in any true relationship; there can be only a
mutual agreement, which either party may withdraw from at
any time. Freyja is not only a Goddess of eroticism, but also
of sovereignty and She will not tolerate a lack of respect for
the sovereignty of others. This enlightened attitude is, alas,
all too uncommon in human relationships, most of which are

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based upon need or dependency. The Initiate can not afford
to make such a mistake and must honour the sovereign
individual.

Fenrir - The Hunger, Chained and Loosed

The closing comments of the preceding section lead us to
consider the important fact that Desire may manifest in both
positive and negative ways. There is the Desire that inspires
and there is the Desire that consumes. We may call this latter,
negative manifestation of Desire 'Hunger'. If Desire as a
positive force is exemplified in the Goddess Freyja, Hunger is
represented by the wolf Fenrir.

Fenrir was the son of Loki, a spirit in monstrous wolf-
form, whose appetite was so great and growth so rapid and
terrifying that the JEsir feared that he would consume all of
Asgard and ultimately the world.

The Gods created a chain strong enough to bind
Fenrir and had to resort to trickery to persuade him to let them
put it on him. They made a wager with the wolf that he could
not break free of the chain. Fenrir was dubious about their
promises to free him afterwards, but agreed to participate
when Tyr placed His hand in the wolfs mouth as a pledge of
good faith. Fenrir strained with all his might but could not
break loose. The Gods then refused to release him and the
ravening Hunger was bound. But Tyr lost His right hand in
the furious wolfs jaws for betraying the oath.

When does Desire transform into Hunger? When
does a positive, motivational power metamorphose into an
inward spiral of greed and consumption? When the thing
Desired becomes more important than the evolutionary
motive underpinning the Desire. When we cling onto things

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instead of principles. Yet because the Desire is founded upon
a principle rather than a thing, the thing can never satisfy and
thus more and more is demanded to sate the craving, in ever
huger and more monstrous forms, a downward trend that can
never be satisfied, but can only become greedier, hungrier and
more desperate.

Possessiveness is the Key which transforms Desire
into Hunger: the urge to possess instead of to experience, to
allow matters to flow and take their own course. This is a
Mystery of the fehu rune. Funds (or Desire) must flow, not be
hoarded, in order to avoid the curse of the Dragon's gold.

Fenrir is the ultimate Form of the addictive
personality. This is something that many magicians are
tainted with, it is the very thing that draws some to magic in
the first place. It is something that needs to be overcome, to
be chained as Fenrir was by the iEsir. The alternative is a
form of lycanthropy, where the werewolf-self will lie low for
a while, yet continually reassert itself in new displays of
obsessive and addictive behaviour that make a mockery of our
claims of higher consciousness and Self-awareness.

It must be remembered, however, that it was
necessary to bind Fenrir with trickery and that there was a
price to pay. The noble deed, the sacrifice of the hand of Tyr,
is a part of this realisation. Our greeds, our jealousies, our
possessive streaks, will always remain with us. They can
only be chained by placing our hands willingly in their
mouths and those chains will only hold so long as we
remember this: we possess absolute freedom, but as we seek
to evolve beyond the bestial toward the divine, we must
establish our own order, binding some of our freedoms so that
others may flourish. Our appetites cannot all have an
absolute free reign without undoing the progress we have
made.

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Rediscovering Sorcery

At this stage of Initiation, you will be applying your energies
to understanding the great Mysteries of your own Self and the
Universe in which you find yourself. You will be busy
integrating the various aspects of your soul and unifying your
consciousness so that it may touch truly Divine levels of
inspiration. You will have succeeded in ordering your daily
life so that everything ticks along just so, allowing you to
pursue your magical studies in the most effective way.
Although life will always have its little ups and downs,
everything will tend to go just as smoothly and as comfortably
for you as it possibly can. This is useful, but can also be an
extremely dangerous state of affairs if you are not careful.

It is very important for you to continue to test your
limits. At this stage of Initiation this can be a very difficult
thing to do, because your psyche will (hopefully) be firing on
all cylinders, and the Universe will tend to fall into line with
your Will almost automatically, giving you a smooth ride.
This is great news for your personal development, you will be
able to progress by leaps and bounds, but the risk is that you
will start to lose your edge. You need some resistance in your
life to strike sparks off. So how to find it without making
things unnecessarily difficult for yourself? You certainly
don't want to take a step backwards, after all.

You find it be deliberately seeking out opportunities
to practise sorcery. You find these opportunities by seeking
to help people. There are, however, a couple of very
important points to be borne in mind here. Firstly, make sure
that the people want your help. Secondly, be careful what
kind of help you choose to give. Never forget that you are
always a factor in your own magic and you will be changed
by everything you do. Assisting someone to pass their exams,

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recover from an illness, or increase their store of hamingja
(luck), can only reflect well on you. Cursing someone's
neighbour for taking their parking space could have dire
consequences, tainting you with someone else's petty
squabble that you should have no part in.

But those important considerations being made, most
magicians will begin focusing a lot of their energy on helping
others at this stage in their initiatory path. They don't really
need to work sorcery for themselves any more, things just
tend to click into place around them. But they can keep their
skills honed and their edges sharp by Working on behalf of
others. Note that contrary to what some may say, there is no
reason why you should not charge for such services if you do
so ethically and reasonably, because you will certainly be
paying a price yourself. You will be exposing yourself to
change and challenge. But this, of course, is precisely the
purpose.

There is another factor at work here as well, of
course, which is crucial to the Work of this chapter. Sorcery
is an expression of your Desire. It is a statement of your
belief that the world should be different in order to approach
the idealised model in your head. True Sorcery is an
expression and manifestation of your sense of Beauty,
Purpose and Justice. It embodies those three principles of
Eroticism, Sovereignty and War. So when addressing any
situation, always ask yourself what is your highest Desire.

Crafting Bizarre Artefacts

You can also continue to keep your magical muscles in trim
by marrying them with your general creative urges and
creating bizarre and beautiful magical artefacts and tools as

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expressions of your Initiation. Many magicians who
approach this initiatory level find that their creative impulses
begin to express themselves in very potent ways. Some will
write, some will paint, some will sculpt, some will create
music, but I have never yet met an effective magician who
was not also tremendously creative. When the mind unites,
the floodgates are opened. This too is an expression of
Desire, an urge to manifest the Beauty of the Other.

This creativity need not be limited to recreational or
entertainment purposes, nor need it be focused upon teaching.
It is possible to display your Initiation as an example to all by
crafting symbolic items which will enhance your magical
world. Let's consider a few ways in which this can be done,
along with a few historic examples.

You will be completely familiar with all of the
techniques of magical practice by this stage. You will already
have established a working set of tools to suit your needs, so
you no longer face the pressing need to find or fashion such
things quickly. This therefore means that you now have time
to begin fashioning your ritual space and tools at your leisure,
to become something really and powerfully representative of
your aesthetic. It doesn't matter if it takes you eighteen
months to complete an item, because you can use the one
you've always used previously in the meantime. So you may
decide to continue working on an old coffee table, whilst in
your garage you are crafting an ornately carved and painted
altar which will ultimately take its place. You may be
painting or embroidering beautiful wall hangings depicting
dragons and mythic scenes which will inspire you and fuel
your magic when they are finally finished and hang on the
walls of your ritual space. Now is the time to carry out all of
those long term, intricate tasks that were always so impossible
and distant in the early, 'rush hour' period of your Initiation.

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This is also the time when you can think outside of
the box and really express your magical creativity. You can
craft artefacts which are truly unique and bizarre for specific
purposes. These may be wands, amulets, cups, tables, or
items of clothing. Anything that expresses your purpose.
Some of the wild and wonderful magical items found in
fantasy role-playing games come to mind as examples. But
probably the most bizarre example comes from real life. I am
talking, of course, of the infamous Necropants. These
trousers were made from the skin of a dead human being.
The skin was taken in a single piece from the waist
downwards, dried and treated, and made into a pair of
leathery trousers of a particularly grotesque appearance.
These were supposed to ensure a steady stream of coined
money to the person who wore them. If you search online,
you will readily find a photograph of the particularly
gruesome Necropants on display in the Icelandic Museum of
Witchcraft and Sorcery. I hasten to add that I am certainly
not suggesting that anyone today fashions a pair of
Necropants, but don't be afraid to be bizarre and creative in
less gruesome ways.

Loki and Tangential Tantra

We referenced Loki earlier as the trickster and mischief-
maker among the ^Esir, the God who would invariably get the
other Gods into trouble, but whose skills and sharp wits
would inevitably be required to get them out of it again. We
also posited that Loki may actually be a projection from Odin
Himself, a kind of 'shadow-self who introduces the element
of the random and unexpected into one's path.

At this stage of an Initiate's development, the

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interjections of Loki into initiatory Work will start to become
really noticeable. You will find that your magic quickly
brings the results you ask for, but that bizarre and unlooked-
for side-effects and synchronistic events that bear little
connection to your original purpose also begin to increasingly
manifest.

Some might argue - and this would certainly have
been the case with those Edwardian magical pioneers such as
Aleister Crowley and the good gentlemen and ladies of the
Golden Dawn, to whom reason and conscious control was
paramount - that this is an unwanted and undisciplined
phenomenon and something which should be avoided and
stamped out at all costs. Today, following the contributions
of the Chaos Magic schools to magical thought, we are free to
think quite otherwise.

In actual fact, the further we advance, the more
prevalent these unforeseen happenings (termed 'tangential
tantra' by Kenneth Grant) will become, not less. For as we
unify and harmonise the various parts of our souls, so we can
expect an increasing amount of new material to be offered up
to us from the deep, dark places in response to our magic,
alongside our actual anticipated results. This is not a failing,
nor a weakness, but a signification of our personal
development.

What kind of manifestations can we expect as
tangential tantra? These will be entirely unique to the
individual, a chain of synchronicities that will lead - if
followed - to a new Understanding, something that would not
otherwise have been attained. Expect them to be strange and
bizarre. They will also very often be keyed to Desire. On one
occasion, without going into details, the sight of a homeless
woman asking for change in a London alley led me on a
pilgrimage spanning over a year and taught me the Mysteries

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of the Banshee and the essence and worship of the Celtic
Goddess Badb.

These tangential tantra, like the mischievous
machinations of Loki, will throw you off your intended
course, compelling you to follow their lure. But this is why
they have been given to you: if you follow them, you will
uncover new Mysteries that are now beckoning to you and
which you would not otherwise have discovered. If you
disregard them, the deep places of your psyche will assume
you are not interested in their input and will cease to
communicate with you, turning away and undoing all of the
work you have put into your Self-development. If you're not
going to listen to the deeper parts of yourself, it's best not to
awaken them in the first place, for - like Loki - they can
become nasty.

Reading Life's Runes

The Initiate will have become very familiar with reading
runes in divination in order to trace the developing patterns of
Wyrd in the World. But now it is essential to reach one step
further, a step which is quite logical and which should be
obvious to those who have performed the rite emulating
Odin's sacrifice and rune-winning in the last chapter. You
must now learn to read the patterns unfolding in the world
directly and then extrapolate backwards in order to discover
the runes at their root. This will transform the whole field of
time and space into a picture book which your magically
sensitised vision may read.

Some runes are easy to read. For instance, any matter
of motion will involve raidho, money matters will invoke
fehu. So you should be able to begin this practice very easily

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and readily. Other layers and patterns underlying the
processes of life may be more subtle, requiring a more
intuitive touch. And don't forget that every situation is multi-
faceted. Every happening will have motives and past
influences which lie behind it. Try to discern these, and soon
you will be carrying out your own rune-castings, entirely
within your own mind

This level of runic awareness and perceptual ability
will stand you in excellent stead for the remaining Work.

The Fetch in the Flesh

The fetch has already been described when discussing the
soul lore of the Germanic peoples. There it was said that:

The fetch surrounds and touches the other parts
of the soul, but is not itself a part or a possession
of the individual. It is an essence which is
transpersonal, spanning generations. The fetch
may appear to a person in three forms: (a) as an
animal; (b) as an entity of the opposite sex; (c)
as a geometric shape.

The fetch is of enormous importance to the Work of
this chapter and those beyond it. It is vitally important that
you learn to communicate with the fetch and heed its advice.
So far, so mystical. Yet you may be surprised to learn that the
fetch will generally manifest in a solid, living form and will
turn your life on its head in doing so.

If the fetch chooses to appear as an animal, then you
will recognise the otherworldly character of that animal and
will be able to deduce its message for you. If it appears as a

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person of the opposite sex, you will feel a strong affinity for
that person and their arrival will be heralded by a series of
meaningful synchronicities; you will need to develop matters
from there. Your interactions with the fetch in this form will
be more complex, since it will be capable of speech. In its
final form as a geometric shape, the fetch will attract your
attention with a recurring image or design in which a
particular shape is dominant. You will then be drawn to
follow that shape; it may lead you off your expected course,
indicating another way to go, or it may simply dominate your
thoughts, turning them in a particular direction. In all cases, it
is up to you to make the effort toward effective
communication.

What, then, does this mean? Are we to interpret the
speech of every torn, dick and harry as a message from a
supernatural entity linked to our soul and to our ancestry?
Not at all. It is essential to have developed a sense of due
proportion and a subtle awareness of what constitutes an
otherworldly communication and what does not by the time
you reach this stage in your Initiation. If you cannot do so, go
back and work thoroughly through all the preceding chapters
again until you can.

Also, it would be a fallacy to assume that the fetch
permanently incarnates itself within a given person, animal or
thing. I am not saying that this can never happen, but I am
certainly saying that it is unlikely in the extreme. The fetch
will adopt any number of guises in order to get its messages
across to you, speaking perhaps a single sentence through a
given host at a time, then leaving that host to his / her / its
own devices, probably utterly unaware of having been utilised
as a supernatural mouthpiece. It is up to you to distinguish
and understand such messages when they come.

The question may be asked whether the fetch may

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embody an erotic component, given its frequent manifestation
in the form of a person of the opposite sex. It may do so, of
course, and that erotic element may in itself prove to be
initiatory in nature. But this should not be assumed as a
given, it will not always be the case. For an example where
the erotic emphasis is definitely present, we need look no
further than Sigurd, the heroic exemplar utilised throughout
this book. This will be discussed much more thoroughly in
the section of this chapter entitled 'Desire as the Engine for
Immortality', which folows shortly. But before you think you
have a cosy handle on this concept, let me throw you a
particularly barbed question for your consideration: does
Sigurd's fetch manifest in and speak through Brynhild, or
Gudriin, or both?

The Effects of Death on the Soul Complex

Before proceeding to address the vexing question posed
above, it is first necessary to consider the constitution of the
soul in Northern lore once again, most especially the effects
of the process of dying upon the various parts of the mind /
body / soul complex.

The lyke, the physical body, dies of course, since it is
bound to Midgard and is discarded when the soul withdraws
to other worlds. The elements which make up that body are
then broken down, decomposing in order to be reused in the
ever-changing material realm. The soul will build a new lyke
around itself when it is reborn.

The hyde, that shaping influence which gives form to
the soul's manifestation, withdraws from the body it has
shaped. It is this withdrawal of the hyde which triggers the
process of decomposition as the underlying structure is

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removed from the body. The hyde departs with the immortal
parts of the soul and will begin shaping a new home when the
soul is reborn in the world, establishing itself in a new
physical envelope and moulding that body to reflect the
individual's qualities.

The athem, the life-force which animates the body, is
also removed from this plane, sustaining the soul as it fares
across the bridge to the higher worlds. Upon its departure,
the body of the deceased becomes mere matter, with no life of
its own. The many tiny life forms and bacteria which co-exist
with a body in life, now begin to break down the structure.

So far, all of the parts we have mentioned have been
connected either directly with the physical body, or with its
shaping and animation. Now we begin to examine the
invisible parts of the human complex, such as the hugh and
the myne, thought and memory. These certainly don't remain
within the physical shell, they can be presumed to depart to
the higher or lower realms on Yggdrasil, along with the other
invisible parts of the self. I suspect in most cases that these
functions then remain in the immaterial realms, along with the
part of the soul which is truly transcendent and immortal (see
later). Certainly, when the soul is reborn into a new life, it
brings very little of the previous life's thoughts and memories
back with it, though occasionally something may be carried
across. I have the hunch that the more coherent and
integrated the personality is within life, the more cohesion
and direct memory there will be between incarnations. This
continuity of conscious identity and memory is one of the
highest aims of Initiation. In any case, the hugh and myne
will always remain available to the greater Self in Asgard, or
will at least be accessible in the freezing halls of Hel, where
the redundant and dormant aspects of accrued experience
slumber until needed.

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The wode is that part of the soul which is capable of
inspired consciousness, the illuminated part which is touched
by the Divine. This aspect is named after Odin and its abode
is in Asgard. The wode ascends and takes up its station at the
loftiest point of the World-Tree. Indeed, I would argue that
Asgard is the natural abode of the wode and that it is located
there even when the soul is manifest in earthly life. The wode
may descend and communicate with the other parts of Self
when inspiration floods the being, but its natural roost is in
the Highest. In this way, the wode accrues ever greater
experience, wisdom and knowledge as the individual is reborn
each successive time. This part of the soul loses none of its
essence or substance, but increases in power and intensity
over the course of lifetimes, so that the advanced soul gains
increasingly from its inspiration and wise influence.

The fetch we have already spoken of in this chapter.
It is attached to the soul of the individual in life, but is greater
than him, a tutelary spirit which is transpersonal, spanning
generations. Upon the end of a particular life, therefore, the
fetch will go on its way, attaching itself to some other
newborn member of the family line. It may be that in years to
come, when the individual is reborn, it may attach itself to
him again, but this is not a given.

An individual's luck is an expression of many factors:
his outlook on life; his courage; his deeds; his generosity; his
understanding of the ways of wyrd. It is thus a faculty which
is generated for the most part by the deep places of the soul,
and it can be presumed to pass on from this world with the
less tangible parts of being. Wherever the soul sojourns next,
whether passing a span of time in other worlds, or entering
quickly back into rebirth in this world, its luck will still
accompany it, manifesting anew alongside it. Luck is
generated by the Self in motion and will thus be wherever

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consciousness resides at any given time.

The core of the soul itself, that sense of selfhood
around which the other faculties revolve, will generally pass
into one of the other worlds for a time whilst its attendant
parts are analysed and distributed as above. If it has
accomplished nothing worthy or notable, it may simply sink
down to the halls of Hel, there to sleep until sent forth into the
world again. If it has unfinished work that it wishes to
accomplish between lives, it may perhaps do this in
Svartalfheim. It may reside with its ancestors in the wonder
of Ljossalfheim. A particularly shining example of an
Initiated Self may reside in Asgard, fused with the Wode-Self.

The Wode-Self is that part of the consciousness
which is directly touched with the Gift of Odin, the Flame of
Self-awareness and all-potential. As such, it remains in
Asgard and never descends fully into manifestation when the
soul is reborn in Midgard. Of course, there is always a link
between the manifest self and the eternal Wode-Self of which
it is a projection, namely the faculty of wode itself, as
mentioned above. The ecstatic, Divine consciousness of the
Wode-Self may become immanent and apparent to the
incarnate self when the wode, hugh and myne - the tricameral
mind - are harmonised and resonating together as a result of
successful Initiation.

If you consider the implications of this, it makes a
profound statement about what befalls the soul during the
death process. When people talk of dying, they normally
think of the soul departing this world and going somewhere
else. But according to the above model, the Wode-Self, the
most highly evolved part of us, is already in that other place.
So we don't actually go anywhere at all, since we are already
there. All that happens is that the lens of Self makes a
transition from being body-centred to being wode-centred.

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Through the practices outlined in this book, the Initiate may
become accustomed to this transition whilst still in earthly
life.

Desire as the Engine for Immortality

Having established that according to the Northern soul model,
there is a part of us which is truly immortal and incorporeal,
and that it projects its sense of Self into this world to be
reborn periodically, we should now find ourselves asking the
question, "So what is the engine that drives this process?
What is it that leads us into rebirth?"

The Immortality Engine is a key function of this level
of Initiatory Work, as it begins to inform all of the Work that
you do. The name of this engine is Desire, which has already
come under scrutiny in this chapter as a function of the
Goddess Freyja.

This needs a little explanation. After all, a Buddhist
would explain to you that Desire is a very bad thing, the root
of all sorrow in the world since it serves only to remind us of
those things we do not have. Get rid of Desire, they say, and
enlightenment might be obtained. But let us not forget the
final goal of most orthodox Buddhist philosophy: a state of
Nothingness. But this is not the goal of the philosophy of our
forebears; their philosophy - and ours - is to enjoy a vital
existence and to always seek to discover what lies over the
next horizon. For such a philosophy as ours, Desire is a
positive necessity. Bearing in mind that we have already
drawn the essential distinction between Freyja and Fenrir:
the Desire to explore and to experience, and the Hunger to
possess and consume.

So we may establish Desire as a positive force that

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drives us to accomplish our goals in life, to chase after our
dreams and visions. We should therefore be able to see that it
is a life-enhancing and life-sustaining quality. Desire is what
makes it worth our while to get up in the morning, to face the
new day with hope and courage in our hearts. Without it, life
becomes a tedious routine, depressing and mundane, and who
in such a condition would possibly want immortality?

The next question we have to ask is: what do we
Desire? I am not speaking of specific instances here such as
we explored earlier in this chapter, though our findings then
should help us in resolving this current question. Instead I am
trying to discover the essential Principle that fuels Desire. So
what is it that we Desire?

The answer to this question was, I believe, provided
best by Plato, who discussed it in The Symposium. Plato
argued that people Desire that which is beautiful. So the
Principle which arouses Desire is Beauty. But Plato didn't
leave it there. He went on to argue that if something is truly
beautiful, then it must be beautiful eternally, for true Beauty
(he was talking here of the Principle itself rather than
individual manifestations of that Principle) is imperishable;
otherwise, how could it be beautiful? So in his argument
Plato now moves the goalposts one stage further, implying
that our Desire for Beauty is actually a Desire for
immortality.

This is not such a hard thing to imagine and when I
first grasped this concept it grew within me until it is now a
central tenet of my philosophy. That which causes us up to
bother getting up in the morning is the quest for Beauty; this
is the Desire that drives us. Moreover, it is this same quest
for Beauty which causes us to seek rebirth in the world, to
enflesh our Desire once more and to follow Beauty's siren call
into new manifestation. This is the Immortality Engine, the

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Eternal Feminine which draws us ever on. This concept is
also implied in reverse by the later Germanic magical legend
of Faust. In one of the versions of Faust's Pact, he obtains
magical powers from the Devil and may lead a life filled with
as much wealth and pleasure as he will for as long as he will,
but the Devil may claim his soul in payment if Faust should
ever become bored of his existence. This proclaims the same
truth from a contrary position of outraged piety: that so long
as Desire continues to drive us on, we are on the path of
immortality.

This concept is expressed in many of the Dragon
myths told in Indo-European culture. Before we turn our
attention to that specific myth which is most central to the
Work of JEgishjdlmur, let's examine the themes which recur
in almost every European folk tale concerning the slaying of
Dragons:

• There is always a town terrorised by a Dragon.

• In lieu of destroying the town and devouring all its people,
the Dragon demands the sacrifice of a maiden at periodic
intervals.

• Sometimes this maiden is specifically fated for her role, at
other times she is chosen by lot. But in any event, she
always turns out to be either a princess or (in more
bourgeois versions) the daughter of the local mayor or
town official.

• The town proceeds to chain the maiden at the appointed
place, but has secretly sent out calls for heroes to rescue
her from her fate, promising her hand and / or the town's
wealth in payment.

• A hero arrives, either from foreign parts, or a local who
has been long away and is now returning home after
accomplishing great deeds.

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• The hero slays the dragon.

• The hero marries the maiden and becomes heir to the
kingdom.

• "And they all lived happily ever after."

So the hero (the conscious Will) slays the Dragon (the bestial
nature) because of Desire for the maiden (the fetch), through
which relationship he becomes ruler of the land (the
integrated psyche, with all its powers awakened).

We have already mentioned the Faust legend in
relation to Desire as the Immortality Engine, and this pattern
is played out there, as Faust defies the Devil for the sake of
Margaret and wins redemption (this thematic emphasis is
superbly realised in F.W. Murnau's movie Faust).

But we can most profitably trace these Dragon-
slaying mythological themes in the tale of Sigurd, who is the
heroic exemplar of the AZgishjdlrnur curriculum. Sigurd
himself is the hero, of course, and he is of noble blood, the
surviving heir of the Volsung line. He overthrows Fafnir and
gains the powers of the Dragon. This victory grants him the
power and the courage to penetrate the wall of fire which
surrounds the Valkyrie Brynhild and awaken her from her
sorcerous sleep. Brynhild represents the Divine messenger,
Sigurd's link with the Gods. Upon that hill they pledge
themselves to each other.

This is the theme of the Work of ^gishjdlmur: that
the conscious Self overcomes the Beast within and integrates
with it. This balanced, whole Self may then reach out and
touch Divinity. This is the Work that every Initiate must do
who has persevered through to the present chapter and it is a
Work which will be primarily approached through the fetch.
With the assistance of this transpersonal essence which
impinges upon your own soul, you must reach out to discover

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the principles and the aspirations which truly drive you on
when all else has been left behind. You must discover,
identify and follow after the Beauty that you Desire, which
will make you truly immortal.

In the saga, of course, things ultimately ended
tragically for Sigurd and Brynhild. They are brought low by
greed and treachery, the cursed, averse aspect of fehu. But
this need not and should not be the case for you. Remember
that the Dragon's treasures must be allowed to flow freely.
They are not to be seized or jealously hoarded. The further
you progress in your Initiation, the more expansive you
should become. Remember this and you should do well.

Connecting With Ancestral Spirits and the Gods

As you progress towards communion with Divine levels of
consciousness at this stage of your Initiation, you should
introduce some ritual element into your practice for
connecting with the JEsir and the Vanir, the Ljosalfar and the
Svartalfar, and the honoured spirits of your ancestors.

There are various ways of doing this. One is to take a
spirit journey through the nine worlds until you approach the
realm of the God or spirit you seek, then call out to Him / Her
/ It. Speak with them on this level and write down what you
have learned when you return.

Another way is to devise a suitable ritual for the
purpose (good examples are given in the books of Edred
Thorsson). This can be directed towards any God or spirit
you may wish (there are long lists of elf and dwarf names in
the Poetic Edda) and can be done to seek wisdom on a
particular issue, or simply to sense their essence and to make
some exchange or oath with them.

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It should be noted that it is deemed appropriate to
pour out half the contents of the chalice or horn upon the
earth as an offering to the being you call upon (or if indoors,
into a bowl which will later be poured upon the earth), so if
you do devise your own ritual, this step should be
incorporated into it.

There are many reasons for calling upon the Gods,
elves and spirits, ranging from increase of wisdom and
knowledge, through to veneration and worship of them and
the principles they represent, through to seeking their
assistance in practical magical results. But in all cases it must
be borne in mind that the Gods of the North do not respond
well to the grovelling that is common in most religions.
Approach them as if they were honoured kin, or as a warrior
to his lord. The human soul is a noble thing, vitalised by the
threefold Gift of Odin. To demean that Gift by abasing
yourself is to demean the Giver. Also, do not expect these
Gods to do things for you or sort out your problems. Their
way is to encourage you and empower you to sort out your
problems for yourself. By now you should be entirely
capable of doing so.

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CHAPTER EIGHT

TIME AND THE GODS

With this chapter, the Work becomes more speculative and
experiential. We begin reaching into areas of cosmic
significance. It is essential that the Initiate entering these
uncharted waters must be sailing in a sturdy vessel. He will
need the full span of the runic skills he has developed so far,
plus a thorough understanding of the cosmological and
psychological structures underpinning his reality. Without
these solid anchors, it is easy to fall prone to self-delusion and
wishful thinking.

Even more than this, the Initiate must have
experienced the transformation of Draconian consciousness
within his own being. The Dragon, the Hero and the Valkyrie
must all be aflame within his brain. This will allow his
Wode-Self to speak clearly and unambiguously, guiding him
aright.

Those who have grasped the fundamentals of Desire
as the Immortality Engine and who have engaged in the
teasing dance of tuition led by the Fetch, will find themselves
most fully equipped to explore the themes of this chapter.

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Indeed, although a more austere and ascetic approach is
certainly possible, I cannot personally even begin to imagine
it, let alone practise it.

Whether you have encountered manifestations of
your Desire in the form of a sexual partner (or partners, as is
sometimes the case), or whether you are inspired most by an
otherworldly projection of Beauty, you should by now have
realised and unlocked a further secret of Draconian Magic.
This is a kind of Tantric flow of energy between the Hero and
his Lady, typified by the Draconian Essence. (Although
couched here in the generally masculine tone of the myths, in
practice it translates perfectly well for female Initiates as the
Heroine and her Lad, and can also accommodate same sex
relationships with only a little imagination.)

This ecstatic energy flow, which cycles between the
one who Desires, the one who is Desired, the process of
Desiring and the implicit Form of Desire itself as an eternal
Principle, is crucial to Draconian Work at this stage. It
should take only a little consideration of the previous chapter
to explain why. You should also consider that in the case of
mutual Desire, the energy flows in both directions
simultaneously.

This Desire may be seen - and utilised by those who
have the skill - as a Form of Kundalini. The Hero is the erect
spine (or phallus) and the Dragon uncoils from its lair at the
base of the spine and sends its energy up the shaft, seeking a
union with the Valkyrie, who extends Her swan wings above
the brow. There are numerous magical Mysteries in this
imagery and you should seek them out, meditate upon them,
and - above all - practise them.

These Mysteries of Desire will be the Key to
unlocking many of the powers alluded to in this present
chapter.

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The Norns

The Work of this chapter takes what we have already
considered about Destiny and aligns it to the patterns of time.
It also places us in a position (achieved through Draconian
consciousness of those Mysteries of Desire) where we are
able to view that pattern from outside and manipulate it and
our own situation and place within it.

This will necessitate an Understanding of the three
Sisters of the Wyrd: Urdhr, Verdhandi and Skuld. These
three dwell at the very roots of the World Tree and are
conscious of all that occurs within its branches, as well as all
that has occurred, all that may have occurred but didn't, and
every possible event that may yet occur. The Initiate must
learn to see through the eyes of all three of the Norns. Having
achieved this, he must learn to see through all three of their
perspectives simultaneously. And if that wasn't demanding
enough, he must ultimately transcend even this in an ecstatic
single Vision which combines All, Nothing and Might-Be-
Might-Not-Be. This should not be difficult for anyone who
has learned to Open the Eye in the Void.

Urdhr represents the past. Her name is closely
related - if not directly identical - to Wyrd, and those patterns
of past processes which lead into the unfolding and
manifestation of the present are indeed Hers. Knowledge of
Urdhr is knowledge of the roots of things, the understanding
of what is likely to happen based upon what has previously
happened.

Verdhandi represents the present, that which now is.
She is the ever-changing moment, the gap between now and
now, in which reality is turned over and made anew. In the
time it takes you to blink your eyes, the entire world has been
destroyed and recreated, similar but not the same, for billions

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of possibilities and events have been made manifest that were
previously only building potential, patterns in the greater
pattern. Paradoxically, the Eternal Now of the present ceases
to exist in the time it takes our minds to recognise and
respond to it. The present we are thinking about is no longer
the present we are now in; it has gone into the past. It has
been said that all that truly exists is the present. The past
does not exist, for it has been and gone; the future does not
exist, for it is mere possibility. There is only the present,
which is annihilated the moment it exists, ever Remanifesting
in changed form before its loss can be noticed. So the present
is All, yet the present is Nothing. Think about this, for it is
critical to the Work of both this chapter and the next.

Skuld is often glibly said to represent the future, but
this is simply not true. Skuld is everything that may yet be,
every possibility that lies implicit within the Wyrd, including
those which will never come into manifestation. She is
perhaps better said to represent probability or continuation.

When the Initiate views the patterns of potential as
Skuld views them, he gains the ability to manipulate those
threads in the present which lead towards certain strands of
the future, tying and knotting some to strengthen them and
snipping or tangling others. It is possible, with awareness and
determination, to steer your course by following the
possibilities you prefer to come into manifestation.

Each Initiate should at this point devise a ritual of
their own making (or three rituals, if you prefer), designed to
access the consciousness and Understanding of Urdhr,
Verdhandi and Skuld. Follow the guidelines given
previously, incorporate suitable runes into your Working, and
record the result. When you complete the Work of this
chapter, go back and repeat your ritual, comparing the results
to the first attempt in order to discover just how far your

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Understanding has advanced then, compared to how it is now.

Writing the Saga of Your Deeds

If you have been immersing yourself in Northern lore and
legend to complement the practices offered in this book, you
will probably have read more than one of the sagas. As
opposed to the Eddas, which basically tell the various tales of
the Gods, the sagas are very much more human, concerning
themselves with the acts and noteworthy deeds of human
heroes. The Saga of the Volsungs is really required reading
for the AZgishjalmur curriculum, for reasons which surely
shouldn't need to be explained. But there are other valuable
tales too, such as Egils Saga, which tells the story of master
rune magician Egil Skallagrimsson.

Now that you have achieved this level of Initiation
and have tapped into the current of your own Destiny,
awakened the Wode-Self and learned to follow the
promptings of your Fetch, it is time to start writing your own
saga, the tale of your life and deeds. I mean this quite liteally.
Take up a pen and paper (or more likely a computer keyboard
in this day and age) and start writing your own story,
beginning with your earliest memories. Don't be afraid to go
back where appropriate and mention pertinent deeds of your
ancestors that may have shaped you. Recount every memory
that comes to you; each will have its own story to tell, its own
way of shedding light on some facet of your being. Pay
particular attention to magical events, of course, but do not
ignore the mundane.

Not only will you find yourself telling a fascinating
story - probably far more interesting and inspiring than your
everyday recollections would ever suggest - but your saga

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will also grasp hold of the patterns of Wyrd in your life,
tracing their unfoldment and their direction. The intention is
that you will be able to ride these patterns into the past and
future. This Work is the underlying focus of this present
chapter.

Understanding the Need For Change -
Foretelling Ragnarok

All who have so much as glanced at the mythology of
Northern Europe will know something of Ragnarok. This is
the great battle between the Gods and the Giants, respectively
the forces of consciousness and non-consciousness, laying
waste to the world as it is. But life and consciousness survive
to spring forth again in a new world, with a new race of Gods
and men.

This is not some 'end of the world' myth like the
Christian Revelation, however. It is not intended to keep the
sheep fearful and in line. It is simply an expression of the
essential and inevitable process of change - on all levels of
reality, not just the physical - and the Remanifestation that
must follow such upheavals.

The process of Ragnarok will be discussed fully in the
next chapter. The purpose of mentioning it here is to ensure
that the Initiate is aware that periods of stability will
inevitably be followed by a time of drastic change and
upheaval. This cannot be avoided and so must be prepared
for beforehand. At this stage, the Initiate must begin casting
his Work into the future, planting the seeds for the
Remanifestation of his ideas as well as his own personal
Remanifestation.

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The Helm of Awe as a Tool For Time Travel

We have already established the use of the AZgishjalmur in
operations of sorcery. Now we must use it for one of the
most outlandish purposes yet. The Initiate will now seek to
expand his consciousness beyond the barriers of the fourth
dimension and travel in time itself.

I am not speaking here of physical time travel, but
travel of the mind, a kind of out-of-body experience wherein
the Initiate's consciousness travels backwards or forwards in
time whilst his body sits at rest. He is then able to watch
what happens in his chosen time zone and return to the
present with the knowledge he has gained.

The first step in this process is to design an
appropriate bind-rune in Helm form. It will be good to make
the central core of the design the typical equilateral cross with
each arm terminating in an elhaz rune. This will ensure the
Initiate's safety whilst travelling. Other runes that should be
incorporated into the Helm design are:

raidho, for travelling

gebo, for an exchange between that time and this

hagalaz, for returning to the primal patterns

isa, the stream of concentration

jera, the cycles of time

eihwaz, the span of life and death

dagaz, the polarity of then and now

A very serviceable bind-rune may be constructed in
Helm-form from these component runes. I am going to leave
the final design of this Helm to the genius of the individual
Initiate. For one thing, anyone who has come this far should
consider it an insult for me to continue designing your bind-

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runes for you. If you can't achieve it yet, you need to go back
to the beginning and work through the previous chapters until
you can as you are not yet ready for this Work. Secondly, this
current material is still in the experimental stage for me, so I
do not wish to mislead anybody by presenting what I feel to
be a partly speculative and not fully proven design of my own
making.

Having designed your bind-rune and correctly
fashioned and charged it by carving, colouring, singing, etc.,
it is time to decide which time period you wish to visit. You
may decide to look at a period in general, or you may wish to
home in on a particular historical event. I say 'historical',
because it is best if you explore the past to begin with and
leave the future well alone. We have already established that
the future is a nebulous and indeterminate concept in
Northern belief. You will certainly want to extend your
perception in that direction when you have some practice
under your belt, but you will need considerable skill to
navigate its multi-layered mirage of maybes. So begin with
the past until you have amassed some considerable skill and a
proven, reliable track record.

It is helpful if you can gather some items, pictures or
music relating to the time or event you wish to see and use
these to set the mood. Open a ritual and explain your wish
clearly. Spend some moments in intense concentration upon
your goal. Then relax your mind, stare at the bind-rune and
think only of travelling. Let the rune's lines draw you in and
send you on your way. After you have mentally seen and
heard what you need to know from the past (remembering that
to invite more than is freely given leads only to error and self-
deceit), refocus your consciousness in the here and now and
write up your results.

Test the veracity of anything you see or experience as

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best you are able, using the most reputable sources to do so.
You can probably only expect to bring back three or four
precise pieces of information with you to start with,
increasing as you become more adept with the practice.
Again, do not push for more than readily appears, because
your subconscious will gladly paper over the cracks for you if
you push it. You are looking for truth, not necessarily
coherence. It will take time for things to gel.

Once you have a proven record of successfully
travelling to the past, you can then start to look to the future,
bearing in mind the caveats already given.

Of Elves, Dwarfs and Etins

As the Initiate begins to breach the dimensional barriers with
his consciousness, time is not the only foe to fall. Space must
also be conquered, enabling us to interact with the denizens of
others worlds in ways that have not been possible in previous
parts of the curriculum.

I am not talking here of Gods, the ^Esir and Vanir, but
of those entities and wights os a less than Divine status that
dwell in the Nine Worlds upon Yggdrasil. Most specifically,
I refer to the Elves, Dwarfs and Etins, who dwell in
Llossalfheim, Svartalfheim and Jotunheim respectively.

Before we start looking at the practical aspects of this
Work, let's refresh our memories of what these beings are.

The Elves are a people closely connected with the
Vanir and the processes of cyclical time and generation.
They are not bound to Midgard as we are, but have their
dwelling in a brighter and more fruitful realm, under the
Lordship of the God Frey, brother of Freyja, whose name
means simply 'Lord'.

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An Elf in Northern lore is a tall and shining being,
quite unlike the depictions that have been inflicted upon us
since the Victorians started producing pictures of them in
storybooks. The way they have been represented in the recent
Lord of the Rings movie trilogy has actually been a very fair
one and may hopefully go some way toward redressing the
balance. Tolkien, of course, knew his Germanic myth inside
out, as evidenced by his own alliterative verse retelling of the
Volsung saga and numerous other essays.

The Elves are custodians of deep wisdom and have a
great knowledge of all the things beloved of the Vanir: the
living, growing, organic substance of the world and its cycles.
They are tellers of tales and teachers of secrets to those who
approach them correctly.

The Dwarfs dwell in Svartalfheim, a name which
calls them kindred to the Elves, but they are 'Black Elves'.
This blackness refers to their subterranean realm, for the
Dwarfs love the deep places of the world, and their abiding in
low tunnels accounts for their short stature. They are as wise
in their way as their Light cousins, but they are cunning in the
lore of crafting and making things with their hands. They
teach the use of tools and skill in shaping the raw materials of
the earth (or the Self) into intricate and beautiful objects of
great usefulness. They tend to be craftier in spirit than the
Light Elves and drive a harder bargain, but their friendship is
very worth the price.

There are accounts in the Eddas of many wonderful
and magical treasures crafted by the Dwarfs for the ^Esir, not
least of which are the Brisingamen of Freyja and the Hammer
of Thor.

The Etins, or Giants, live in Jotunheim (or at least
those we are interested in here do. There are other Giants in
other places, such as the Fire Giants of Surt who come from

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Muspellsheim, and the Giants of Utgard, who dwell outside
the enclosures of the Nine Worlds in the Outside - these are
expressions of the forces of the Void). But we are here
interested in the Giants of Jotunheim, who are active within
the structure of the worlds upon Yggdrasil.

The Etins possess great age, great strength, and often
great size. They are creatures who are stuck in their ways and
reactionary, and who are generally opposed to the changeful
ways of the young Gods in Valhalla, and hold the JEsir as
enemies. They are forces of stasis as opposed to the forces of
consciousness and evolution embodied in the Gods.

It would be wrong to categorise all of the Etins as
foes, however, matters are rarely as simple as that. They are
certainly forces contrary to individuation and consciousness.
But so may a mountain be: it is not a conscious thing, nor
does it care anything of consciousness, and it may stand in the
way of a man who wishes to get from one side to the other.
But to say that a mountain is a bad thing or an enemy would
be a gross over-simplification and a serious mistake.
Mountains are actually very useful and rather beautiful, even
if they are generally static and immovable.

In a similar way, the Etins can be very useful and
even helpful in the right circumstances and with the right
approach. We even read of some of the Gods consorting with
Etin-wives in the mythology.

An Etin is very old and has thus acquired great
wisdom after its fashion. This wisdom must be carefully
interpreted, as it is bound to the Etin's own narrow spectrum
of experience, nevertheless it runs very deep. Care must also
be taken because although Etins are not particularly smart,
they are crafty and cunning after their fashion, misleading or
trapping the careless.

So the wise Initiate may discover deep and timeless

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wisdom from an Etin, but must be careful to interpret it
correctly.

There are two main ways to seek communication with
Elves, Dwarfs and Etins. One way is to travel to them; the
other way is to call them to you. In the first case, the Initiate
will take a spirit journey as described in chapter five, faring
out into the worlds along the rune-roads until he arrives at the
appropriate realm: Ljossalfheim for the Elves; Svartalfheim
for the Dwarfs; Jotunheim for the Etins. Once there, he may
seek out and speak with a being of that type. The other way is
to formulate a ritual to call the entity for illumination. In such
a case, you will need to spell out the name of the invoked
wight with runes, with a bind-rune of that name placed before
you. Also, a sacrifice will be necessary: drink half of the ale
or mead yourself, pouring the other half upon the ground as
an offering to the spirit, refreshing it and welcoming it. You
should then sense its presence and may communicate
mentally with it, receiving its wisdom as flashes of inspiration
either during the ritual or shortly thereafter.

Through working with these entities, many of the
deep Mysteries of time and space may be revealed to you.

The Apples of Idunn

The Goddess Idunn is associated with youth and with apples.
The apples She cultivates are the source of the rejuvenating
powers enjoyed by the Gods, which grant them immortality.
Her name is thought to mean 'ever young' or 'the rejuvenating
one'. She is thus a Goddess of Remanifestation and of key
interest to Draconian Initiates.

One of the myths concerning Idunn is very indicative
of Her power. Loki is forced by an Etin named Thjazi to

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deceive Idunn and lead Her out of Asgard on a pretext,
whereupon the Etin seizes Her, desiring Her apples of
rejuvenation for himself. In consequence, the Gods begin to
grow grey and to age, lacking the restorative power of Idunn's
apples. It becomes apparent that Loki is responsible and He
is forced to go out once more to rescue Idunn from Thjazi.
He does this using His powers of transformation and Idunn is
restored to the ^Esir, who kill the pursuing Etin.

The following rite is intended to accomplish two
things:

1. It should rejuvenate and reinvigorate the Initiate,
reminding him of his immortal essence. It binds the parts
of his soul more firmly, manifesting continuity of
consciousness.

2. It reminds the Initiate of the parts of himself that lie
beyond even Yggdrasil, pulsing with potential in
Ginnungagap. Thus, it makes the temporal manipulations
of this chapter's Work that little bit easier.

The Apples of Remanifestation

The Initiate should set up his tools in preparation for a ritual.
The Grail should contain a potent cider (specifically an
alcoholic cider - I am aware that non-alcoholic apple juice is
sold under the name of cider in some places. Also, for rather
obvious symbolic reasons, this must be a traditional apple
cider, not pear cider or some other such variant.) An apple
should also be present (if more than one person is celebrating
this Working, there should be enough apples for everyone to
have one.)

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1 . Open the ritual in your accustomed fashion.

2. Hold the apple in one hand and hold the palm of the other
hand over the top of the Grail. Slowly sing the names of
all the runes of the Futhark in proper order, feeling the
qualities of the whole rune row entering the fruit and the
drink, empowering them.

3. Say: "I am one who has awakened the sleeping
Dragon, who has pursued the Heroic path, who has
reached out his hand to the Valkyrie and has felt the
Divine Mind. I am one who has opened the Eye in the
Void and who has seen beyond the limits of time and
space. As such, I claim the right to taste of the apples
of Idunn, and to partake of their rejuvenating essence.
The ecstasy of their sweetness shall bring forth my
Remanifestation. I invite all Gods and favourable
wights to bear witness and to partake with me."

4. Hold aloft the Grail and sense it filling with Divine force.
Pour one half of the cider upon the bare earth (or into a
bowl to be taken outside and poured upon the earth later if
you are working indoors) as a sacrifice to the Gods, then
drink the other half, feeling it refresh and renew you,
filling your mortal frame with spiritual force.

5. Cut the apple in two and place one half upon the bare earth
(or in the bowl for later) as an offering to the Gods. Eat
the other half, feeling it nourish and renew you, flooding
your body, mind and spirit with new energy.

6. Remove the pips from the half you ate. These should be
buried later, to renew the Earth.

7. Close the ritual in your accustomed way. If you worked
indoors, take the offerings outside and complete them
accordingly.

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The Tally of Selves

One of the most useful and important applications of the
transdimensional techniques of this chapter is to look back
along our own timeline in order to better understand ourselves
in our completeness.

We have established the belief in rebirth and have
investigated at some length the effects of the death process
upon the various parts of the soul-body complex. We have
also discovered Desire as the engine which drives the process
of Remanifestation and which can facilitate the continuity of
consciousness from one state of being to the next, allowing us
to be reborn in our next life without losing all memories of
this present one. But having made such provision for the
future, we should now turn our minds to the past and seek out
the Mysteries which are hidden there, buried deep within the
layers of the unconscious. We need to find our previous
selves, those shells which are now dead and gone, and we
need to revivify them in our contemporary consciousness,
restoring them to fullness of life.

There are two methods that we might use to
accomplish this goal, but before we can make any progress
with either of them, we need to refresh our memories of three
key facts concerning the process of dying and the division of
the parts of the soul. The first thing to remember is that the
core sense of identity, the actual continuity of consciousness,
abides within us. The second thing is that all of the key
insights and evolutionary advances in consciousness achieved
by the soul are lifted up to Asgard upon death. Since our
initiatory Work has long since enabled us to touch the Divine
spark within ourselves, these powers and this knowledge,
acquired over many lifetimes, is available to us to call upon
already. What we have yet to do in our Work, but what is

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most vital if we are to be balanced and truly coherent Selves,
is to go down instead of up, to discover the third thing, the
memory of those aspects of personality and those forgotten
skills which lie entombed with the dead in the halls of Hel.

So it is to Hel that we must look if we are to resurrect
and Remanifest the shades of our previous Selves, who lie in
slumber awaiting the call to reawakening. In so doing, long
dead memories will be restored to us, along with the skills
that supplement them. We will have taken a hugely
significant step in making ourselves complete. This is a Work
which goes far beyond the usual 'past life recall' of
reincarnationists.

There are two ways to accomplish this Work. The
first way is to go to the dead: the second way is to bring the
dead to you. Both methods will be discussed here.

In the first method, you will prepare to take a spirit
journey, as was described in chapter five. You should project
your consciousness out of your physical body and descend
down the shaft of Yggdrasil to Svartalfheim. Spend a little
time to get your bearings there, then descend still further until
you arrive in the freezing, gloomy, mist-shrouded world of
Hel.

You will need to take time to allow the region to
unfold within your mind. Its symbolism will express itself in
terms pertinent to you, but I always see Hel as a fogbound
land of vaults and tombs, with shadowy wraiths creeping
through the mists.

Follow the direction in which your instinct guides you
and you will come at last to the memorials to your previous
selves. There will be a large vault, like a hall, nearby. Enter
this and your past (and some say future, once facility with the
method is won) selves will be seen standing in the alcoves.
They will begin to awaken as you approach them, stirring in

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their slumbers. From them you will learn long forgotten skills
and you will achieve a great sense of completeness as they
reintegrate themselves with your current manifestation. You
will now realise the truth that nothing is ever truly lost or
forgotten.

For those who have access to the archives of the
Order of Leviathan in the Temple of Set, the 'Apep Workings'
of Ipsissimus James Lewis have strong echoes of this theme
and can be read as a practical example.

The second approach is to bring the dead to you,
awakening your past selves by ritual invocation and
revivifying them with the sacrificial mead and bread offered
at your altar. This ritual should be constructed by your own
genius, guided by your deepest instincts (those parts of you
which have most affinity with your previous manifestations).
The basic formula should be akin to that used to call upon
other wights described in this chapter, using the tools and
basic steps of ritual previously discussed in this manual.

This is obviously highly skilled magic, requiring a
powerful focus of mind and an open channel to the
subconscious in order to receive and correctly interpret the
communications of these earlier selves. But if you have
practised diligently up to this point in the curriculum, you
should be perfectly capable of such skilled magical
application.

Repeat the invocations frequently, building up a
strong rapport with these earlier shells of yourself, until you
have reawakened their identities fully and begun to
incorporate them within your own current being. This will be
a far more transformative experience than you can possibly
imagine whilst simply reading these words. It is something
that must be experienced.

In time, you will become aware that these selves are

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accessible by your consciousness at all times. You may
simply reach within your mind and 'remember' what it was to
be these people and to utilise their skills. You will have
accomplished a great deed of Self-integration.

Nidhogg - The Eater of the Dead

It is during this process of Self-integration that you will
encounter the last of the three great Dragons of the Eddas:
Nidhogg, who lurks at the very deepest root of the World-
Tree, gnawing upon it, spewing venom as he consumes the
shells of the dead.

Nidhogg is a devourer, a breaker down of aggregates,
and in reawakening the essences of your past selves, you are
effectively undoing Nidhogg's work, causing the Dragon to
regurgitate that which it has devoured. This leaves you with
an angry and hungry Dragon to contend with.

What form will this Dragon take? You will have to
fight Nidhogg in the guise of those past selves you have now
taken as a part of you. Each of these personalities had its own
flaws, guilts and debts, each one of them a tooth of the
Dragon. You will benefit from the sense of completeness as
you integrate these aspects of your manifestations, you will
gain by the rediscovery of their skills, but you will also be
burdened by their failings and weaknesses. These are the
fangs and claws of the final Dragon, and because they are of
you they can consume you utterly if you are not careful.
Having learned to control and channel positively your own
obsessions, you may now fall prey to those which were buried
a long time before your present birth. Nidhogg is the most
insidious and deadly Dragon of all.

Although this process is an enormous initiatory step,

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it will initially seem like a retrograde one. Having (hopefuly)
brought all your own insecurities, blind spots and bad habits
to heel, you will now find yourself burdened with a host of
new ones, threatening to bring you down. You will find
yourself behaving in irrational and unexpected ways and not
knowing quite why. In other words, when you begin this
Work of necromantic Self-integration, you had better be ready
for some bizarre twists and turns and be prepared to fight
your corner.

At this stage, I should really need to give you little
more guidance in how to deal with these matters. You should
already know. Indeed, there is litle I could advise you, since
the phantoms from your own buried past and the manner of
their manifestation will be utterly unique to you. Fight them
and assert your Will as you have done all along, always
holding onto that Divine consciousness you touched in the
previous chapter, when you came to understand the
symbolism of Sigurd awaking Brynhild and the two plighting
their troth. Do not allow yourself to become bewitched and
forget your promise, as befell Sigurd in the saga.

So Nidhogg, the final of the three great Dragons of
the North, is the accretion of the debts, the grievances and the
unfulfilled desires of your past selves. This is a mighty and
worthy foe to conquer. But if you can conquer and subdue
the Dragon, gaining the use of those past skills and
knowledge, broadening your outlook and your very sense of
Self in the process, then this Dragon has one final Gift to
offer when brought to heel. Nidhogg is the most dangerous of
Dragons, but also the most transformative, for according to
the Voluspa, the Seeress' Prophecy in The Poetic Edda, this
Dragon is immortal indeed, surviving Ragnarok. The last
thing the Seith woman sees is this ancient Dragon of Chaos
rising on mighty wings after the fall and renewal of all:

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66. From below the dragon \ dark comes forth,
Nithhogg flying \ from Nithafjoll;
The bodies of men on \ his wings he bears,
The serpent bright: \ but now must I sink.

- translated by Henry Adams Bellows

So the Initiate transforms "the dragon dark" into "the serpent
bright" as the "bodies of men" [his past selves] are borne
upon his wings, arising in victory even after the upheavals of
Ragnarok.

Speaking of Ragnarok, it is time to deal with these
issues in the final chapter...

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CHAPTER NINE

TWILIGHT OF THE GODS

And so at last we come to the Twilight of the Gods, the
Gotterddmmerung, the day of Ragnarok. Loki, bound and
cursed after the death of Baldur, returns leading the legions of
frost and fire giants, to destroy the cosmos with the fire and
ice from which it was created. Yggdrasil burns, the World-
Tree shivered to its roots. The chosen warriors of Odin fare
forth to battle. The All-Father Himself is swallowed and slain
by Fenrir. Jormungand, the Midgard Serpent, loosens its coils
and the world rocks in consequence, unbound and crumbling.
Thor kills the great Serpent, but is Himself slain by the fumes
of its venom. The whole world falls to fire and the sword.
The order of the Gods is overthrown and Chaos rages
unfettered.

But the last remnants of Gods and men are sheltered
within Yggdrasil, emerging upon a new plain when all is
done, a place unformed where a new pattern of worlds may be
shaped. Odin is represented here by his surviving sons,
through whom He may be reborn according to the Northern
soul lore we examined earlier. And yet He may still be here

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in one of His aspects as more than just the potential for
Remanifestation, for Hoenir is said to survive Ragnarok, and
Hoenir is listed as one of Odin's many names and an aspect of
the All-Father. But in either case, the Earth Remanifests, and
Odin will Remanifest too in the new creation.

Remanifestation

All things that are shaped and ordered out of Ginnungagap
must one day resolve themselves back into that primal Chaos.
They were born from the potential to be, they expressed
themselves through manifestation, once their expression is
complete they must unravel and assume new forms. This is
the lesson of Ragnarok. Even the abode of the Gods cannot
stand for ever.

One day, the world itself will cease to be. One day,
the sun will go out and the solar system will perish. All of
these processes are patterned and foreshadowed in Ragnarok.
One day our personal lives in the fleshly bodies we now
inhabit will end. But in all cases, something will Remanifest.
No atom of matter, no focus of spirit, will ever cease, all will
be reshaped in new forms and will come into being once
more.

For the Initiate, who experiences new horizons and
personal metamorphosis on a scale unimagined by his less
enlightened fellows, Ragnarok is a recurring pattern in life, as
the edifices of the old must be brought down to clear a way
for the new. The Initiate at this level is a Destroyer as well as
a Creator. All that exists is the moment, the perception of the
now and the Will to reshape that now. The moment is
destroyed as soon as it is perceived, to be replaced by a new
moment, nearly the same, but not quite, reshaped by Will.

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We now walk through life in the knowledge that every
moment may be utterly different from that which preceded it
and that which will follow it. We understand that "I Am
Now" is the sole law of existence.

This is a state of being and a state of mind that is
attainable only through the exercises and practices suggested
in the previous chapter. The Initiate must have conquered the
concepts of time and space, his psyche effectively outgrowing
the bounds of the Universe and existing Outside. This is a
more permanent realisation of the Draconian practice of
'Opening the Eye in the Void' which was introduced and
discussed earlier in the book. This is that which Edred has
termed the 'omnijective perspective', when both the inner and
outer universes are lesser in scope than the simple fact of
consciousness and perception itself. The Initiate now
sees and interfaces with patterns and currents of
manifestation directly, not with their outer appearances.

In this way, we rise upon the Dragon's wings,
soaring above Ragnarok. We create and destroy worlds,
but are neither chained to them nor brought low with
them. We become "the dragon dark ... the serpent
bright" and are whole beings.

This chapter is of necessity short, for there are no
exercises I can describe, or rituals to perform. This stage
of Initiation is a series of Remanifestations and
realisations which occur spontaneously when all of the
prior stages have been performed properly and
effectively. Telling you how to go about your Work now
would be like telling Groucho Marx how to light his
cigar.

Initiates at this stage should have reached the

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understanding that all things must undergo a Ragnarok,
not just once, but periodically. Will and Desire bring
forces into manifestation, our own earthly lives included,
but the manifest universe must continually break down
its parts and regenerate itself or it will become clogged
up, preventing the manifestation of newly emerging Will
and Desire. This is amply illustrated by the tale of past
selves which you investigated in the previous chapter.

But we also understand that the T which is the
Dragon ascendant, rising out of the Darkness on wings of
Light, is a thing larger than the bounds of these worlds; it
persists outside of time and space and projects itself
within those realms as it chooses. This is the Eye
Opening in the Void once more, now understood as an
ecstatic, timeless moment that permeates everywhere and
everywhen, nowhere and nowhen.

The power and the understanding are ours, our
very own. Now, as we rise on the wings of Nidhogg
over the New Heaven and the New Earth, we must
decide: In what way will I shape these things? What will
I bring to pass?

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FURTHER READING

The reading list provided in Apophis contained core texts
which dealt with the Draconian curriculum of Initiation taught
by the Circle of Initiates who call themselves the Order of
Apep. That list remains useful for obtaining an overview of
magical practice and philosophy as a whole; the list which
follows adds a purely Northern element to enhance that
collection of titles.

For those who wish to restrict their interests solely to
the runic Mysteries found in JEgishjdlmur, pursuing the
Dragon of the North exclusively, the reading list which
follows will be found to be complete and sufficient to their
purpose.

There exist many other texts, some of them very fine,
but the list is purposely restricted to those which I have read
personally and have derived value from.

I have limited the list to texts which are available to
the public at large. Some publications, such as the Gildisbok,
are restricted to members of the Rune-Gild, hence are not
listed here. Initiates who are interested will find it worth their
while to approach the Rune-Gild directly with a view to
affiliation.

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Those withing to contact the Draconian Circle of the
Order of Apep for further information or dialogue having
studied JEgishjalrnur may email manxbull@hotmail.com.

Rune Magic

The titles listed in this section all pertain to the actual
practical application of runes in the magical field.

FUTHARK: A Handbook of Rune Magic, by Edred Thorsson,
published by Weiser

FUTHARK is the first of Edred's runic trilogy, the
book which spearheaded the contemporary revival of true
esoteric runology. It focuses upon defining the meanings and
symbolism of each rune, drawing upon the rune poems and
giving plentiful advice on stadhagaldr . The book's emphasis
is heavily upon the practical magical application of runes and
methods of applying their effects in life.

Runelore, by Edred Thorsson, published by Weiser

Runelore is the second of Edred's runic trilogy and is
the core volume of the series. It delves into the origins of
runes and the various permutations of the runic 'alphabet' in
different times and places. It explores the theory and
underlying structure and philosophy of runelore in far greater
depth than its predecessor volume and is probably the single
most indispensible title in this list.

At the Well ofWyrd, by Edred Thorsson, published by Weiser
The third book in the runic trilogy, this title focuses
exclusively upon the use of runes in the practice of divination
in an authentically Northern manner. It revises the basic

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runic meanings to suit the purposes of divinatory enquiries
and offers several methods for reading the runes.

Rune-Song, by Edred, published by Runa-Raven Press

This is a book with accompanying CD or audio tape
and is the best guide available for the essential knowledge of
how to 'sing' the runes. Each rune-song is recorded in full,
plus the texts of the various rune poems in both their original
languages and English translation.

The Nine Doors ofMidgard, by Edred Thorsson, published by
Runa-Raven Press (originally published by Llewellyn)

The Nine Doors is Edred's curriculum of runework,
intended to give the practitioner a thorough philosophical and
practical knowledge of the runes on a deeply internalised
level. This course of work complements the ALgishjalmur
curriculum admirably, filling out some of the broader runic
areas which are not focused upon in this Draconian Work,
and providing a good framework to develop the essential
knowledge to make possible the Draconian operations.

Northern Magic, by Edred Thorsson, published by Llewellyn
In this title, Edred focuses upon the sixteen rune
system of the Younger Futhark, which was used most widely
in the Viking Age. It is just as valid a runic expression as the
Elder Futhark, but has a different dynamic in use. The book
also includes a very useful section describing the process of
designing and activating Helm of Awe-style bindrunes, which
are key to Northern Draconian sorcery.

Rune Might, by Edred Thorsson, published by Llewellyn

Edred explores the teachings, theories and magical
practices of the German rune magicians of the early

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Twentieth Century, along with the 18 rune Futhork that they
devised for their use. Because of the circumstances and
occult environment in which this system was developed, this
particular style of runology is the one best suited for mingling
with other occult systems, as it is itself a bit of an eclectic
mish-mash, reflecting the popular occultism of the time as
much as genuine tradition. Nevertheless, it remains a
coherent and powerful phase of runic development and the
runic yoga exercises developed by the pioneers of that time
are of particular interest and value.

The Galdrabok, by Edred Thorsson, published by Runa-
Raven Press

This Icelandic book of magic is a fascinating blend of
runic sorcery mingled with the grimoire traditions of the
Middle Ages, where the names of Germanic Gods mix with
those of Demons. It is especially valuable for the examples of
the use of Helm designs in practical sorcery as used by
Icelandic magicians.

UTHARK: Nightside of the Runes, by Thomas Karlsson,
published by Dragon Rouge

Karlsson's book is based upon an interpretation of the
Elder Futhark in which the rune order is slightly changed
(most significantly, fehu is now the final rune and uruz is the
first in the sequence), based upon a variant reading in one
source. It is a mastery work, and he tells the tale of the runes
with great power and magical insight. He is also the head of
the Draconian Order named Dragon Rouge, so the book is
very pertinent to the interests of this present curriculum.

Helrunar, by Jan Fries, published by Mandrake of Oxford

This large book is an absolute delight, a down'n'dirty

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manual of practical, hands-on runework, with a strong
emphasis on the darker side of magical lore and process,
represented by the Goddess Hel. Very highly recommended
for honing your skills and getting you out of your armchair.

Magic of the Norse Goddesses, by Alice Karlsdottir,
published by Runa-Raven Press

This book is a study of some of the lesser known
female Deities of the JEsir, expanding upon what little is
known of Them from surviving tales through an analysis of
the meaning of Their names coupled with the author's own
Initiatory insights.

Practical Magic in the Northern Tradition, by Nigel Pennick,
published by The Aquarian Press

As with all of Nigel Pennick's books, this title takes a
very broad view, adding custom, craft and folklore into the
mix of directly magical and mythological material in order to
trace out the major themes of Northern belief. It is a
worthwhile process, adding much flesh to the bones.

Witchdom of the True, by Edred, published by Runa-Raven
Press

This is Edred's account of the Vana-Troth, the
religion and magic of the Vanir, specifically of the twins Frey
and Freyja. It reveals the authentic cultural roots of that
which is now known as witchcraft, and is a good introduction
to seith.

Wiccan Sex Magic, by Inga Steddinger, published by Runa-
Raven Press

This booklet expands upon the themes of Witchdom
of the True, most particularly in the field of sexuality and its

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magical functions, a subject which is dear to the heart of
many Draconian practitioners.

Northern European Mythology. Philosophy and Lore

Introduction to the Germanic Tradition, by Edred, published
by Runa-Raven Press

This little booklet gives a concise overview of
Northern cosmology, soul lore, God lore, culture, ritual
practices and runes and is thus a very handy reference tool for
those new to this field of study. All of the basics you will
need are covered here.

Valknutr: 9 Lays of Power, by Valgard, published by
Eormensyl Hall

This remarkable little book, which focuses upon the
Seal known as the Valknutr, the Knot of the Slain, which
binds and unbinds the worlds, is the work of one of the
founding members of the Order of Apep and is a masterpiece
of extrapolating magical patterns.

Runarmdl /, by Dr Stephen E. Flowers, published by Runa-
Raven Press

This book, written by the Magus of the Word Runa,
is a record of series of open public lectures he held in Texas
after Uttering the Word, explaining its origins, purposes and
usage.

Green Runa, by Edred, published by Runa-Raven Press

This is the first of a series of collected works which
gather together Edred's published writings and articles whuch
have appeared in various periodicals over the years. As such,

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it is a goldmine for those wishing to obtain greater insights
into the minutiae of the Northern tradition.

Blue Runa, by Edred, published by Runa-Raven Press

The second volume in the series of collected writings,
this one contains more material of very great value for the
student.

Black Runa, by Dr Stephen E. Flowers, published by Runa-
Raven Press

The third volume in the series reprints exclusively
documents which were produced by Dr Flowers during his
time as Grand Master of the Temple of Set's Order of the
Trapezoid, an esoteric group which focused upon the magic
of runes, Germanic romanticism and the concept of angles
and other-dimensional realities. Plenty here to interest the
Draconian Initiate.

Red Runa, by Edred, published by Runa-Raven Press

The most recent collection of articles and one which
contains the controversial 'Contra Templum', which
emphasises the importance of a true, organic, initiatory
tradition with firm roots as opposed to a more subjective,
eclectic approach to magic.

Studia Germanica, Vol. /, by Stephen E. Flowers, published
by Runa-Raven Press

A collection of articles exploring some of the issues
arising from Northern lore, such as the concept of rebirth,
especially with regard to Sigurd, which is highly pertinent.

The Rune-Poems, Vol. /, by Stephen E. Flowers, published by
Runa-Raven Press

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As the title suggests, this is a detailed study of the
various rune-poems, their origins and their purposes.

The Northern Dawn, Vol. /, by Stephen E. Flowers, published
by Runa-Raven Press

The first of a projected series in which Edred explores
the very roots of Germanic culture and its unfolding, tracing
how ideas and concepts and identity developed and changed
over time. Very useful for those who like to be able to trace
the origins of all that they do.

Skaldic Number-Lore, by Robert Zoller, published by Runa-
Raven Press

This does precisely what it says on the cover: sets
about analysing the numeric lore of Northern mysticism, as
applied in the mythology and the runes. These numeric keys
leave some people cold, but unlock many fascinating doors
for others. But an understanding of the number symbolism is
vital to all at the very least.

A Source-Book ofSeidh, Ed. & Tr. by James A. Chisholm and
Stephen E. Flowers, published by The Rune-Gild

This book gathers together translations of every single
passage referring to seith magic and its use from every
existent source from the period, presenting as clear an
understanding as possible from genuine sources of this type
of magical practice.

Grove and Gallows, by James Chisholm, published by Runa-
Raven Press

The ancient Germanic peoples weren't ones for
writing much down, but some of their neighbours were. This
book collects together a huge number of texts on the subject

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of Germanic magic and religion penned by Greek and Latin
scholars who had either borne witness or heard accounts. The
sheer volume and scope of material allows a fairly persistent
and authentic image to be formed, even allowing for
occasional exaggeration, misunderstanding or ancient
propaganda.

A Concise Edition of Old English Runic Inscriptions, by
Stephen E. Flowers, published by Runa-Raven Press

A collection of the Old English runic texts and
inscriptions, translated and annotated as appropriate.
Valuable for those who wish to study how the Runemasters of
old shaped and framed their letters.

The Poetic Edda, tr, by Carolyne Larrington, published by
Oxford University Press

The Poetic Edda is of vital importance to appreciating
the mythology which is so essential to this Work. It is
available in several translations additional to the one listed
here, some printed and some freely available online.

The Prose Edda, by Snorri Sturluson, tr. by Jean I. Young,
published by University of California Press

The Prose Edda is the prose mythic account of the
Northern Gods, from Their beginnings through to Ragnarok.
A valuable account in its own right, it also provides a
framework for the poems of The Poetic Edda.

The Saga of the Volsungs, by Jesse L. Byock, published by
Penguin Classics

The saga upon which the initiatory model of this book
is based. It will be very helpful if readers know this story
inside out.

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The Legend of Sigurd and Gudrun, by J.R.R. Tolkien,
published by HarperCollins

Tolkien was not just a writer of brilliant imaginative
works, he was also a skilled linguist and Professor of Old
Norse. Being enamoured of both poetry and the Saga of the
Volsungs, he composed his own version of the tale as an epic
poem in the style of the old skalds. The result is a treasure
indeed.

Egils Saga, by P. Edwards, H. Palsson and Snorri Sturluson,
published by Penguin Classics

This saga is particularly interesting in its depiction of
Runemaster Egil Skallagrimsson. It is a helpful account of
the ways in which the runeworkers of old applied their craft
in the course of life.

The Penguin Book of Norse Myths, by Kevin Crossley-
Holland, published by Penguin

This book is a handy collection, discussion and
retelling of the Norse myths, gathered together in one volume
from their various sources. An excellent general reference
work.

Gods and Myths of Northern Europe, by H. Davidson,
published by Penguin

An excellent and scholarly account of the Northern
Gods and the myths associated with Them. A masterly
analysis of the mythic themes.

An Introduction to Viking Mythology, by John Grant,
published by Chartwell House

A handsome coffee table book, profusely illustrated,
which recounts the major Norse myths. An excellent

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introduction for the beginner to the field of Northern magic.

Lady With a Mead Cup, by Michael J. Enright, published by
Four Courts Press

A fascinating book which analyses the function of
various people within the structure of the European warband,
focusing most closely upon the woman who presented the
mead to the warriors and the order in which she did so. A
thorough examination of the ritual and principle involved,
using the hall scenes from Beowulf bs a central example. This
may not sound like immediately initiatorily relevant, but the
book's themes are important ones. You'll have to keep your
mind open and read between the lines.

How to Kill a Dragon, by Calvert Watkins, published by
Oxford University Press

The title is a touch misleading, as this book is actually
a study of Indo-European poetics and linguistic roots.
Nevertheless, it does contain a good deal of insights into
mythic poetry, including the Germanic, and does focus upon
recurring themes of Dragon-slaying. A valuable read for
those who like to look really deep into matters, but not for all
by any means. The writing style is atrociously dry and
impenetrable, you will pay with tears for every insight you
prise from these pages. Yet I cannot deny its importance.

Other Essential Reading

Apophis, by Michael Kelly, editions published by Lulu,
Blurb, and CreateSpace

The core volume of the Order of Apep's teaching,
which sets forth the Initiatory curriculum of the Seven Heads

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of the Dragon, the same system and curriculum which is
applied throughout this present book. Apophis is the parent
volume of, and blueprint for, Mgishjdlmur. The two are
specifically designed to be read side by side and used in
tandem, each enhancing the other.

Uncle Setnakt's Essential Guide to the Left-Hand Path, by
Don Webb, published by Runa-Raven Press

This book is every bit as essential as the title claims it
to be. An introduction to magical philosophy and practice
which covers all the bases. Those who follow its instructions
properly will have a good grounding in Initiation.

Lords of the Left-Hand Path, by Stephen E. Flowers,
published by Runa-Raven Press

A masterly overview of Left-Hand Path initiatory
thought and practice through the ages, with particular
emphasis upon modern groups and insights.

Liber Null & Psychonaut, by Peter J. Carroll, published by
Weiser

Blows the cobwebs off the subject of magic, paring it
down to the operant essentials and laying bare the mechanism
of belief. Armed with this insight and a strong tradition (such
as the Northern), you find yourself upon very firm ground.

Fire & Ice, by Stephen E. Flowers, published by Llewellyn

This book is an account of the magical rites and
philosophy of the Fraternitas Saturni, a German magical order
who allied themselves with Crowley's New ^Eon and
resonated strongly with their Germanic heritage. A
fascinating examination of a genuine Northern magical group
of considerable prestige and power.

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Paradox Games, by Waldo Thompson, Rune-Gild edition

This book explores the paradox and its relation to
Mystery. It is a valuable work and those who pay attention to
its thought experiments will gain enormous insights into the
ways in which the conscious and subconscious minds work
and cross-reference each other. Essential for proper self-
integration.

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