norse 5e

100 101 Galdrastafir after he had turned up this fjord towards him there came a bird so large that its wings reached the hills on either side, and with it were a number of other birds, both large and tiny. So away fared he thence, & westward along by the land to Breidafjord, and there went he up the fjord, but a great bull came towards him bellowing after a fashion that was most horrible. ... He was about to go up on Vikarseid, but a hill giant came towards him with a staff in his hand, and this giant carried his head higher than the hills, and with him were many other giants. At that point, the warlock turned back. The king, after listening to the account of his warlock, decided to abandon the undertaking and return to Denmark. Iceland did not have its own army, but in the popular imagination, it was well protected by its landvaettir. These might seem like ancient superstitions, yet the landvaettir won a place in the heart of the Icelanders, so much so that they remembered them in 1944 when the country won its independence from Denmark and had to create an emblem which represented them and with which they could identify. The fact that they chose to portray precisely the four protective spirits described by Snorri (the dragon, the raptor, the bull and the giant) holding up a shield is emblematic. They are the heralds of Iceland, and even now they have not stopped carrying out their ancient duty – they are represented on the Icelandic krona, the official currency still in use. Galdraboekur: the Books of Magic The Icelandic grimoires are called galdraboekur, where galdr means magic or spell, and boekur means books. In Norway they were referred to as svartbøker – black books – and in Sweden they were known as svartkonstböker or trolldomsböker, books of the dark arts or books of troll sorcery. These names lead us to understand that they were something considered dark and dangerous: indeed, almost all the surviving examples of grimoires belong to the age of the Reformation, when trials for witchcraft reached their peak and the hunt for those practicing magic intensified. The Icelandic grimoires are quite unusual, in that their pages are full of strange symbols, coded runes and seals halfway between Norse and Catholic tradition, all combined with a pinch of mystery due to the fact that comprehension of the inscriptions had to be limited to initiates, or even just the owner of the book itself. Sometimes they are not attributable to a single spellcaster, but with the passage of time they changed hands and we can recognize different handwriting as the pages are gradually filled. They are not uniform copies, because as complex symbols had to be copied (sometimes even without having sight of them), elements were added or removed. In other cases, the Latin of the formulas, which had maybe only been heard spoken by others, was transposed and distorted. Pagan and Christian tradition combine in an interesting fashion, while the symbols which are the key element of Icelandic magic multiply. Sometimes the same design is used for completely different purposes, or many variants are used to achieve the same thing. Note that these grimoires do not belong to the age of the Vikings, which is usually considered to be between 793 and 1066 CE, but are rather a later product which merges the traditions of the first colonists of Iceland, the Norwegians exiled by Harald who arrived on the shores in 868 CE, to the esoteric one which later arrived from the continent. In many symbols we can find titles or formulas which invoke Odin, Thor and other Norse gods, showing a Nordic heritage, while in others saints, biblical characters or even demons are invoked. That of the galdraboekur is undoubtedly a variegated and fascinating world, and in this chapter we will take a look at the most important and legendary manuscripts, along with the history of the spellcasters who transcribed them. One of the most famous of these texts is called simply Galdrabók, or “book of magic”. It was started around the late 16th century, and its pages contain the handwriting of at least three different wizards. The first two are Icelandic, and based on their manner of writing, it has been possible to determine that at least a century passed between the two, while the third was Danish and added four further spells. Another text which dates to around the same period is the Lækningakver or Collection of Doctors, which however covers medicine with an approach which we might at times call scientific, and at others more akin to magic, as was common at the time.

102 Norse Grimoire 103 time in history when the persecution of witches and wizards was at its peak. With its 74 pages, the Rúna og Galdrakver (Lbs 2413 8vo), a collection of runes and spells, is one of the manuscripts with the most magic symbols, 187 to be precise. It was written by a single author in the 19th century, so it is somewhat of a late arrival, but it was probably copied from more ancient sources. We also have the manuscript called Huld (ĺb 383 4to), which probably derives its name from the Icelandic term hulda, or secret. It is also relatively recent, dating to 1860, and is one of the few to have a clear author, Geir Vigfusson, an academic and antique dealer. It is a manuscript of 27 pages containing numerous plates of runes and coded letters, as well as 30 spells. We also know the name of the compiler of the Samtíningur (Lbs 977 4to), dated to around 1820, whose 194 pages were written by Loftur Sigurdsson. Compiled between 1868 and 1869 in ordinary handwriting, on blue colored paper, we find another manuscript called Galdrakver (Lbs 2917 a 4to). The author is Olgeir Geirsson, and the final part is entirely dedicated to reading palms. In 1625, the reverend Guðmundur Einarsson came into possession of two grimoires belonging to a wizard named Jón Guðmundsson lærdi, The Educated, who was tried for witchcraft and declared an outlaw due to the spells contained in his books. The reverend, determined to prove that Jón Guðmundsson was a practitioner of black magic, described the examined grimoires in apocalyptic terms, managing to come up with the interpretation of Sator Arepo Tenet Opera Rotas as an anagram of “Satan operor te, te operor Satan”, which would have made Jón Guðmundsson a servant of the dark forces. Despite the numerous invocations of Christ and the saints contained in the texts, the reverend worked to ensure that every spell appeared negative, stating that using the name of God in such circumstances was heresy. In 1664, the director of the school of Skálholt took the bishop a partially ruined pamphlet, which he said he had found in the room of two students. It contained 237 magic symbols, but unfortunately it was burned. The bishop, fearing that the boys, who were just 19 and 20, would be accused and burned at the stake, decided not to take them to court, but did expel them from the Skálholt school and sent them to England. Of notable interest is also the Galdrakver (Lbs 143 8vo), a collection of spells, since it dates to 1670, a

102 103 Galdrastafir Beyond these texts – which have been rediscovered and preserved and can therefore be consulted to this day – Icelandic tradition also talks about some legendary manuscripts, which may have actually existed before being lost to posterity, or maybe were just part of the legend. The most important legendary text is the Rauðskinna, or Red Skin, so called because it was said to be written in gold letters on red parchment. It is attributed to the darkest and most evil Icelandic warlock, bishop Gottskálk Nikulasson the Cruel. He was said to have been buried alongside his precious grimoire, and as we will see in detail later, he was awakened from his tomb by a young apprentice eager to learn his secrets. Another much talked-about book of magic is the Gráskinna, or Grey Skin. It was divided into two parts, the first written in the Latin alphabet and which contained the simplest and most innocuous spells, while the second was in coded letters, since it contained the darkest and most dangerous magical arts. It seems that Galdra-Loftur, the young man who went to the tomb of bishop Gottskálk to bring him back from the dead, was able to do so thanks to the spells contained in this section of the book. Before looking at what the grimoires we have talked about contain, it could also be interesting to learn something about the most famous Icelandic spellcasters. One of the most recent texts is known as Einkaeign, written by an unknown author for Magnus Steingrimsson in 1928. It consists of 52 handwritten sheets, and although it is of the 20th century, it maintains the tradition of the oldest grimoires. The surviving grimoires include one called Galdrastafir (Lbs 4375 8vo), composed of 71 pages written by the hand of Finnbogi Bernódusson around the first half of the 20th century. He claimed to have copied the manuscript from an older work dated 1676. There is a further text named Galdrastafir (Lbs 5472 I 4to), which consists of 36 pages and is more recent; it was written by Jónas Jónasson, who lived in the latter part of the 19th century. Finally, one of the most recent manuscripts, which by now almost takes the form of a notebook on which the galdrastafir collected from previous texts have been noted down neatly and precisely, is the Leifar fornra þjóðlegra fræða íslenskra, the remains of the ancient Icelandic knowledge of the supernatural (Lbs 3902 4to), compiled by Thorsteinn Konradsson in 1934. His collection contains more than 500 symbols, copied in red and black ink. In 1940, the Galdraskræða Skugga was published in Iceland; its author, Jochum Magnus Eggertsson, known by his nom de plume Skuggi (meaning shadow), had collected some of the most interesting spells of Icelandic tradition, dedicating his work to the 22 victims of persecution against witches and wizards in Iceland. The book has recently been republished, and is currently available in Icelandic and English.

104 Norse Grimoire 105 It was thanks to bishop Jón that he was able to flee. On learning that the young man was trapped inside the school of dark arts, the bishop went in as a visitor, and once inside invited Sæmundr to hide under his cloak. They thought they would thus be able to fool the Devil, and indeed as it did not see the student assigned to be his victim, he let the bishop leave. But it was only a temporary victory, because the Devil soon noticed his absence and began looking for him everywhere. Jón did not want to abandon the boy to the Devil’s clutches, however, and hid him in a cemetery, burying him in a coffin covered by consecrated earth. The Devil discovered his hiding place but did not dare to approach the church and finally gave up, imagining that Sæmundr had been buried as he was dead. In the end, Sæmundr wanted to go back to Iceland, and the Devil offered him a magical mount which would carry him across the sea in complete safety. It was a seal, and Sæmundr accepted the passage and climbed onto its back. He assumed, however, that this favor would soon come back to haunt him. As soon as he approached the shore, indeed, the seal became aggressive, but Sæmundr was expecting something like this and struck it on the head with his bible, and the demonic animal dropped dead on the beach. While Sæmundr was a man respected for his knowledge and spent his whole life trying to stay out of the Devil’s clutches using the power of the holy scripture, the bishop Gottskálk, on the other hand, was a warlock dedicated to the dark arts, and the ultimate goal of his studies was to manage to become more powerful than even the Devil himself. As well as this, he often took on spies to whom he taught a few small magic tricks so which could be of help in their missions, before sending them to check on his fellow citizens and report their sins back to him. When he came to know their secrete, he tried to extort money from them so they could avoid legal problems or public humiliation. One day he taught a spy the spell named Hulinshjálmur, or Helm of Invisibility, so that they could check who amongst the population was not observing the Lenten Galdramaður: the Masters of the Arcane Art One of Iceland’s most famous wise men is undoubtedly Sæmundr Sigfússon, also known as Sæmundr fróði, or “the wise”. He was so well regarded that when bishop Brynjólfur found the Codex regius, the manuscript containing the Poetic Edda, the most important source we have on Norse Mythology, he believed that it was undoubtedly the work of Sæmundr, because who else could have been so skilled in the poetic arts? For a long time the Poetic Edda was also called Sæmundr’s Edda due to this incorrect attribution, and while it is now known that it is not one of his works, an author has not yet been identified. It is interesting, however that Sæmundr was the grandfather of Jón Loftsson, who was the adoptive father of Snorri Sturluson, the author of the Prose Edda. The fact that the bishop attributed this text to Sæmundr is an indication of how well this person was known and respected at the time. Icelandic folklore tells many interesting stories about him, first and foremost that he travelled to Europe – there is no more precise indication, maybe it was France – where he studied at the Svartskóli, the school of dark arts. On the door of this academy were carved the words “If you enter, your soul is lost”. The students had to stay there for three years, at the end of which they would all leave the school together. The last to go through the gates would be claimed by the Devil, however, and so the students decided the order by drawing lots. Sæmundr was designated last to leave, but having no intention of falling into the Devil’s clutches, chose not to go beyond the threshold and remain at the school another year. The next year the same thing happened, and Sæmundr began to lose hope of being able to leave the academy.

104 105 Galdrastafir to grab it from him. Even then the farmer would not give up his grip on the book, and they were able only to rip out a few pages. Satisfied at this, they tried to send the draugr back to their tombs, but the spell worked for all those who had been invoked during the night, but not for the farmer. The draugr would not leave until he had every single page of his book back in his hands. The struggle went on until the morning, when the first light of dawn made the spirit of the farmer disappear. The three young men never saw him again, and with the pages they had managed to obtain, ordered and copied onto a grey parchment, they compiled the grimoire known as Gráskinna. All three became skilled in the magic arts, but Eirikur was ordained a priest and the bishop accused him of witchcraft. Eirikur presented himself in church, and when he was asked what he knew about the manuscript, he swore in front of God: “I don’t know a single spell from that book!” Since he had spoken the truth, he was absolved. Later, his friends asked him how he had managed to get away with it, and he replied “I told the bishop that I didn’t know a single spell from that book, and it was true: I know all the magic described in it, except for one!” Eirikur became a famous spellcaster, and many young apprentices wished to learn from him. One day, he told one of these young men to accompany him on a journey to a nearby town, and on their return he would decide fast. The spy set himself below the window of a farmer to observe what was going on in the house. It was dark outside, and so he did not consider it necessary to use the spell, and he heard the farmer ask his wife to cook some meat. The woman refused, as it was Lent, but her husband insisted. She took some mutton and set about cutting off a slice with a knife. The spy leaned over to have a better view of the scene, only to discover that the farmer was watching him: “You’re waiting for me to take a bite, huh? Well, I’ll bite you then!” he exclaimed, stabbing the knife into his eye. Following this incident, bishop Gottskálk was no longer able to find spies willing to work for him. Another spellcaster mentioned in popular tradition is Eirikur Magnusson. Along with his fellow students Bogi and Magnus, he heard talk of an old farmer who had insisted on being buried with his favorite cow and with a mysterious book that no one knew the contents of. Intrigued, one night they went to the cemetery to wake up the farmer’s soul, however they didn’t know which tomb was his, and so set about chanting spells, waking up all the souls in the hallowed ground until the church was filled with draugr, but without finding the man they were looking for. They carried on until they had filled the church for the third time, and finally the farmer appeared, alongside his cow and his book. The three young men asked him to give them the volume, but he was unwilling to do so, and they thus attempted

106 Norse Grimoire 107 Norse Mythology, were female spirits, a type of minor goddesses, connected to destiny, fertility and the clans. Thordis was known throughout her parish, and many were afraid of her, considering her the cause of many negative and even supernatural events. It was said that she had twin boys whom she had trained in the study of magic, sending them here and there during the full moon, when two rays of light were seen shining into the sky from a cemetery. Eirikur, who was a priest was the only one to have the courage to warn her: “While you are alive, you will have great luck thanks to your powers,” he told her, “but when you die, you will end up in hell! “Are you really sure, priest?” she asked him; “Come, dance with me!” she openly challenged him. There was a magical duel between the pair, and the texts tell us that, upon the death of Stokkseyrar-Dísa, men were afraid that she could turn into a draugr and return to pursue them even from beyond the grave. In reality, these fears did not materialize and no one saw her again, even though a long time later the captain of a Danish ship was taken to her tomb and opened it to discover that it was empty. The last spellcaster we will talk about lived in the 18th century and was named Loftur Thorsteinsson, also known as Galdra-Loftur due to his skills with galdr, or spells. It was not enough for him to know the entire Gráskinna by heart, he wanted the ultimate and definitive power, and so he asked a fellow student to help him carry out a very dangerous task: raise the terrible bishop Gottskálk from the grave to obtain the Rauðskinna, the grimoire written on red parchment with golden letters. “My friend, you must know that, when one reaches my level of arcane knowledge, one can do no other than pursue the dark arts, and this will inevitably condemn your soul!” he told his companion. “But I have a plan! If I reach the greatest heights of magical knowledge, then even all the demons in hell will have to bend to my will, and so I will be able to live forever! I intend to obtain this power thanks to the Rauðskinna, but it will not be easy, and so I need your help. While I invoke the bishop, along with all the bishops of the past who have not been buried with the holy scripture against their chest, you will be at the top of the whether or not to teach him the magic arts. They were about to leave, but Eirikur had forgotten something very important: “I’ve left my book of spells at home! Please, go and get it, but do not open it for any reason!” So the young man went back to get the grimoire, but while he was on his way back to reach Eirikur, he was overcome with curiosity and peeked inside the book. As soon as he opened it, an army of demons appeared before him and said “Tell us! What do you order done?” The young man did not know what to answer; he was quite sure that any order he gave the demons would land him in trouble. He looked around uncertainly, and seeing sand everywhere, told them “Make a rope out of sand!” and, seeing that they were busy, continued onwards to where Eirikur was waiting for him. From there they set off for the next town, but on their way back, the priest saw the demons sitting on the sand. At that point he chuckled: “I knew it, you couldn’t resist taking a peek inside. You could have asked those demons for anything, but in all likelihood your wish would have been turned against you. Seeing as you acted for the best, keeping them busy so that they did not cause you any harm, I will gladly take you on as my student,” he concluded. There is another legend concerning two young men who asked Eirikur to be his pupils. The priest took them to a cemetery one night, and there he used a spell to invoke a draugr. As soon as the ground beneath the tombstone began to move, the first aspiring student burst out laughing, while the second began to scream with fright. Eirik stopped and spoke to the second young man: “Go back home, my boy, and be thankful that you still have fear and revulsion for these things, as it is right to. As for your companion, on the other hand, it will be my pleasure to have him as a student”. Despite his involvement in the magic arts, Eirikur was considered a good man. He often helped people in difficulty, or made the draugr return to the tombs from which they had come. He was also famous for his magic duel with Stokkseyrar-Dísa, a female spellcaster who features in many Icelandic folk tales. Her real name was Thordis Markusdottir, and she lived in Stokkseyri, and was thus called Stokkseyrar-Dísa. The Dísir, in

106 107 Galdrastafir close enough to grasp the edge of the red book. In that moment, however, everything was so confused and terrifying that his friend in the belltower was afraid that the underworld could spill out onto the earth, and he rang the bell. Just hearing this sacred sound made all the spirits return to their tombs, Gottskálk included, but Galdra-Loftur had not managed to take the book. He did not blame his friend, because the bishop had indeed demonstrated himself to be a much more tenacious adversary than expected, and if he had chanted even just one more spell against him, the cathedral would have collapsed and sunk into the ground. He had hoped to hold out until dawn, when the rays of the sun would have weakened Gottskálk, forcing him to bend to his will, but now everything was lost. Upset, he sought the aid of a healer, who remained with him day and night, but when Loftur had recovered, the healer put him on a boat back home. He never reached the other side, and legend has it that a horrible grey hand rose from the water and dragged the entire vessel down with it, including the ferryman and Galdra-Loftur, into the abyss. belltower and, when I give the signal, you will ring the bell in order to drive away the spirits. If you do so, I will compensate you like no one has ever been before!” When everything was ready, the student climbed up the belltower, while Loftur went into the cathedral and invoked all the bishops of past times with a powerful spell. They were magnificent and imposing, with their sacred vestments, their staffs and miters, and all had bitter words for the spellcaster who had dared awaken them. “Stop while there is still time!” they warned him, but Loftur continued with his spell until he was faced with a bishop with an evil smile, clutching a red book to his chest. This was undoubtedly Gottskálk, who greeted him with a grin: “You have managed to invoke me, well done, but you will not manage to take the Rauðskinna from me!” So Galdra-Loftur began to chant all the spells and incantations that he knew, while the walls of the cathedral trembled and the spirits of the bishops of the past covered their faces in fear. Loftur recited blasphemous psalms and everything around him was enveloped in black smoke, while Gottskálk the Cruel attempted to resist. Loftur managed to get

108 Norse Grimoire Ad stilla alla reidi Að stilla alla reiði was a wise and kind person, but the closer it got to evening the more surly and solitary he became. When a falling out with the Norwegian king meant his family had to flee to Iceland, King Harald sent his troops in pursuit. On this occasion Kveldulf demonstrated his ferocity, defeating his adversaries with a greataxe and killing many, despite now being quite old. This great effort compromised his health, however, and indeed as soon as he reached the Icelandic coast, Kveldulf fell seriously ill and died. These stories mention rituals to transform oneself, but also the existence of shapeshifters and curses similar to lycanthropy. In Icelandic literature, these types of tales have common characteristics, but werewolves are generally male individuals who are bewitched or tricked by females. The tales mention four women who transform into wolves: the mother of King Siggeirr in the Völsunga Sage, Idunn in Hrafnagaldur Óðins, Hlégerdr in Sigrgards saga frækna and Helga in Sagan af Þorsteini glott. It is not surprising, therefore, to also find a symbol aimed at managing rage amongst the galdrastafir. This seems to be a variant of the Helm of Terror, and End Strife The Vikings are famous for their warlike fury, which transforms them into ferocious warriors ready for anything, even to throw themselves into the flames without taking damage, and to hurl themselves into battle against dozens of adversaries. Those who found themselves in this kind of warlike trance were known as berserkir, or bearskins, because they probably wore cloaks made from bear skins. Numerous sagas contain descriptions of warriors in such a frenzy as to bite the edges of their shields or to not feel the pain of even serious injuries, so much so that they were considered immune to steel and fire. This pugnacity was often useful to defeat the enemy, but could sometimes be destructive for the berserker themselves, and even for their allies, and so it was not always a welcomed condition. As well as the berserkir, Norse legends also speak of the ulfhednar, dressed in wolf skins, the favorite fighters of Odin, who went into battle howling and growling like angry wolves. In Egil’s Saga we find an ancestor of the protagonist named Kveldulf, or Night Wolf, so called because he was believed to be a shapeshifter. During the day he

Að stilla alla reiði 2nd-level galdrastafir Casting time: 1 action Components: V, S (a glyph drawn on the forehead) Range: Touch Duration: Concentration, up to 1 minute When the spellcaster draws this glyph on the subject’s forehead, the mark glows on the skin for a moment, making them calm and immune from fear. Once before the end of the effect, the subject has advantage on an attack roll, saving throw or skill check. When using this advantage, the glyph cures 2d8 hit points. At Higher Levels. When the spellcaster casts this spell using a spell slot of 3rd level or higher, the healing increases by 1d8 to the damage for each slot level above 2nd. Temporary tattoo effect The character can cast the Að stilla alla reiði spell once. Permanent tattoo effect or talismanic glyph Að stilla alla reiði is added to the list of spells known by the character. indeed in the Galdrabók it is accompanied by these instructions: To still all kinds of wrath make this stave on your forehead with your left index finger, and say: “It is the helm of awe that I bear between my eyes – wrath runs away, strife is stemmed. May every mother be delighted with me as Maria was delighted with her blessed son when she found him on the rock of victory.” And read: “Ølvir, Óðin, Illi, all will you bewitch! May God himself, with skill send love between us two!” This spell is also interesting in the words used, which combine a Christian prayer with an invocation of the god Odin. In Iceland, the two traditions remained side by side for a long time, combining and creating these strange mixtures which to the orthodox might almost seem like blasphemy. Let us not forget that it was the bishops who were the first practitioners of Icelandic magic, but we can imagine that in an environment so far from the hub of Christianity things were free to evolve independently and in an often surprising manner. 109 Galdrastafir

Aegishjálmur Ægishjálmur Mightier seemed I than any man, For a fiercer never I found. Sigurd spake: The fear-helm surely no man shields When he faces a valiant foe; Oft one finds, when the foe he meets, That he is not the bravest of all. The clarification made by the hero about the actual powers of the symbol is interesting. It generates fear in the adversary, but if they demonstrate sufficient courage to ignore its effects, then the Ægishjálmur cannot be of help in the following combat. In the Galdrakver, the glyph is accompanied by its spell: It shall be made in lead, and when a man expects his enemies he shall imprint it on his forehead. And thou wilt conquer him. The idea of imprinting the symbol on the forehead may seem strange, yet we find this system in numerous spells incorporating the Ægishjálmur. The text says to The helm of terror Perhaps the most famous of the galdrastafir, Ægishjálmur can be translated as Helm of Terror or Helm of Ægir, the tempestuous god of the seas who belongs to the race of giants, and whose name means precisely that. The purpose of this symbol is to intimidate enemies by appearing fearsome and powerful, but it is only an appearance, because as soon as it comes to an actual fight, the spell will break and Ægishjálmur will no longer have any effect. We can find the name of this symbol in the Fáfnismál, Fafnir’s Sayings, one of the canticas of the Haligr Edda, or Heroic Edda. Young Sigurd is driven to fight Fafnir, a dragon who possesses a great terror, who wears the Helm of Terror in order to appear even more imposing and make his enemies flee. Unfortunately for Fafnir, Sigurd did not know the meaning of fear, and so when it came to actual combat, the dragon succumbed. These are the words that the pair exchanged according to the Poetic Edda: Fafnir spake: The fear-helm I wore to afright mankind, While guarding my gold I lay; 110 Norse Grimoire

Aegishjálmur Ægishjálmur Galdrastafir cantrip Casting time: 1 action Components: V, S (a glyph drawn on the forehead) Range: Self Duration: Concentration, up to 1 minute When the caster draws this glyph between their eyebrows, it will glow with a dark light, appearing almost like a burning furrow. The caster chooses a creature within range, and this must make a Wisdom saving throw. If it fails, it will be frightened by the caster for the duration of the spell. If the creature attacks the caster while it is under the effect of this spell, this will end instantly. Temporary tattoo effect The character can cast the Ægishjálmur spell once. Permanent tattoo effect or talismanic glyph Ægishjálmur is added to the list of spells known by the character. keep it between the eyebrows in order to appear terrifying to adversaries, which is a little bit like having a dangerous third eye made of pure magic. The symbol was probably pressed hard onto the skin in order to leave the impression. The fact that it is called Helm of Terror does not mean that it was necessarily carved on a helmet; this name may have referred to the physical place the symbol was taken to, or to the forehead, where the front part of the helmet usually rested. The Samtíningur suggests drawing a simplified version of this galdrastafur between the eyebrows, using a finger moistened with one’s own saliva. Some scholars are reminded of the forked tongue of a serpent by this symbol, and this would help create fear. The dragon Fafnir, who wore this symbol in the sagas, is actually a frightening reptile and claims to be able to spit poison. This is one of the possible interpretations, but not the only one. We are only just analyzing this first symbol, and yet we might already notice that Icelandic magic was anything but a unitary system: each grimoire had its different formulas, even different symbols with the same name, and so there is no definitive truth regarding the galdrastafir, but rather continuous research based on the interpretations which were given over the course of the centuries by the spellcasters who dedicated themselves to the arcane arts. 111 Galdrastafir

Aegisskjoldur Ægisskjoldur one would wish to invoke in order to obtain this effect on enemies. The reference to the black dragons, on the other hand, as well as being reminiscent of the heads of the crow chicks coming out of the nest to feed, also brings to mind another mythological reference. Those confronting the bearer of Ægisskjöldur will be consumed by the terror of the linnormr, the constrictor dragon-serpents who gnaw, consume and break creation. They bring death, affliction and decay from the very roots of Yggdrasill. In Grímnismál, Odin tells of many serpent-like dragons who nibble at its base, more “Than an unwise ape would think”. Odin always refers to these beings with the word ormr, which means serpent. Grábakr, Grafvölluðr, Grafvitni, Góinn and Móinn, Níðhöggr, Ofnir, Svafnir are just some of the many creatures with these monstrous attributes linked to the malicious or voracious desire to consume. The Ægisskjöldur therefore has a similar use to that of the Ægishjálmur, despite the adversary having to face something more complex than fear. The glyph shows its bearer as they are not, making them monstrous if not the incarnation of death itself come to The Great Shield of Terror If the Ægishjálmur is the helm of terror, then Ægisskjöldur is the shield of terror. Its shape is, indeed, reminiscent of that of a shield, and we find it in various manuscripts, including the Leifar. This symbol should be drawn on black paper, using crow’s bile, and this animal is also very important for the activation of the spell. The piece of paper should, indeed, be placed in a nest where a crow is brooding its eggs, and left there until the chicks have hatched and flown the nest. Only then will the symbol have reached the power required to defend its holder from a multitude of enemies. According to Skuggi, it can even enable someone to take on hundreds of enemies with the confidence of surviving. By holding it up in front of oneself, towards the adversaries, just like a shield, its effect will be activated and the enemies will see a multitude of black dragons, ready to be unleashed in their direction. This will fill them with terror. The mention of the crow could relate to Odin, who we know was also called Yggr, or the Terrible. The god accompanied by two crows, lord of war and magic, often terrible in his wrath, is indeed an entity 112 Norse Grimoire

Ægisskjoldur 8th-level galdrastafir Casting time: 1 action Components: S, M (black writing medium, crow’s bile) Range: Self Duration: 24 hours The Ægisskjöldur is the Shield of Terror. Drawn on black paper or parchment in crow’s bile, it should be placed in a nest where a crow is brooding its eggs, and left there until the chicks have hatched and flown the nest. Only then will the symbol have reached the power required to defend its holder from a multitude of enemies. After its activation, for the duration of the spell, a fluctuating rune will protect you. The first time that a creature strikes the caster with a melee attack, the illusion of a black dragon will be released from the rune, invoking the attacker’s most terrible fears. The creature, struck by the illusion, must make a Wisdom saving throw or take 12d6 psychic damage and be frightened and incapacitated for one minute. On a successful save, the creature takes only half the damage and is not frightened and incapacitated. Temporary tattoo effect The character can cast the Ægisskjoldur spell once. Permanent tattoo effect or talismanic glyph Ægisskjoldur is added to the list of spells known by the character. reap its victims. This shows us once again how important the slightest advantage over one’s opponent was. Heart-rending terror is often precisely what leads every warrior to their death. It is maybe for this reason that different illusory forms of this terror have been handed down, such as wolves, shadows or sea monsters. Almost any bearer, or any adversary, can manifest or see something different. “I have seen ancient battlefields in places which mortal man would struggle to reach. Scattered thereabouts were arms and shields, helms and bones. Their whiteness was unbearable, like that of certain lights in one’s dreams. I saw them sown in the ground, stolen by animals, or stacked up as if for dark and mysterious rituals. The crows visited that place which they had picked clean in the past, maybe out of nostalgia at that excessive banquet. I found a shield stuck between two rocks and perfectly preserved; on one of the two sides was a dark parchment with arcane symbols written on it. While I looked at it I heard a whistling around me, as if one hundred serpents had surrounded me and were about to attack from every direction. Only when I turned around did I understand that it had been magic. Is it possible that this barely visible symbol still held that power? It was the crows who led me away from that massacre site. Next to me I saw symbols on the blades, inside the helmets, and designs stitched in the lining of cloaks reduced to rags. Everything was steeped in magic, as if the spells could withstand the ice, the winds and even the passage of time itself.” Thorleif Sikiroddr “Silk Voice” 113 Galdrastafir

Ástarrósin Ástarrósin and the wrongs she has been done, and accepting the wedding with Atli. She herself narrates this tragic moment in the Guðrúnarqviða önnor, The Second Lay of Gudrun: Then brought me Grimhild a beaker to drink of, cold and bitter, Wrong's memory to quench; made great was that drink with the might of the earth, with the death-cold sea and the blood that Son holdeth. On that horn's face were there All the kin of letters: cut aright and reddened, how should I rede them rightly? The ling-fish long of the land of Hadding, wheat-ears unshorn, and wild things' inwards. In that mead were mingled many ills together, blood of all the wood, and brown-burnt acorns; the black dew of the hearth, [soot] and god-doomed dead beasts' inwards, and the swine's liver sodden, for wrongs late done that deadens. Then waned my memory, when that was within me, of my lord 'mid the hall. This horrible concoction made, Gudrun go off and marry the king of the Huns, although she later recovered her memory and took brutal revenge. If she had been versed in the art of the runes like the Icelandic hero Egil Skallagrimsson, she would have The Love Rose Despite its apparently romantic name, this treacherous spell, which comes from the Leifar fornra þjóðlegra fræða íslenskra, was used to cause an ignorant victim to give their love to the caster by magic. The instructions say to draw it with the blood of your right palm and then to take the desired subject by the hand: in this way they will change their mind, forgetting any other lovers or even falling in love with a person whom up to then they had always rejected. Essentially, it is a real spell able to cause great confusion in the mind of a person who, traditionally in the stories, was always a young maiden. In the end, not even able to understand or remember her prior opinions, she gives in to the amorous offers of the man making use of this symbol. Something like this also happens to one of the protagonists of the Norse world, Gudrun, the Burgundian princess who, after the death of her beloved Sigurd, is given in marriage to the king of the Huns against her will. She flees to the house of a woman named Grimhild, but she, with the excuse of offering the girl comfort and hospitality, gives her a drink which makes her change her mind, forgetting her prior husband 114 Norse Grimoire

Ástarrósin seem a matter of little import in a cruel world turned upside-down by wars, sacking and violence of every kind, but it always leaves deep scars on the victim. As demonstrated by the stories, it is this kind of behavior which ignites the harshest of vendettas. Ástarrósin 1st-level galdrastafir Casting time: 1 action Components: V, S, M (a glyph drawn with blood) Range: 50 feet Duration: Instantaneous Although the name appears romantic, this spell aims to cause an individual to give their attention to the caster through magic in order to inflict an unexpected attack on them. The instructions say to draw it with the blood of your right palm and hold out your hand towards the target of the spell. A variant involves a offering a goblet on which the glyph has been drawn. The target creature must make a Wisdom saving throw. On a failed save, they must spend their reaction to move towards the caster, while remaining charmed for the duration of the spell. If the target finishes this movement within 5 ft. of the caster, they take 3d6 psychic damage. Temporary tattoo effect The character can cast the Ástarrósin spell once. Permanent tattoo effect or talismanic glyph Ástarrósin is added to the list of spells known by the character. been able to recognize the danger and use a spell able to neutralize the concoction. In Egil’s Saga, during a banquet, the Norwegian queen Gunnhilda, who was skilled in the magic arts, which she had learned from two Sami warlocks, put poison in the drinking horn destined for Egil, then offered to him by Bard, the master of the house. The Icelandic hero smelled the deception, however, and carved runes on the surface of the horn, coloring them red with blood from his palm. Write we runes around the horn, Redden all the spell with blood; Wise words choose I for the cup Wrought from branching horn of beast. Drink we then, as drink we will, Draught that cheerful bearer brings, Learn that health abides in ale, Holy ale that Bard hath bless'd. As soon as he spoke these words, the mead starting bubbling and flowed out of the horn and spilled onto the floor. Egil understood he had been tricked: that spell had revealed the presence of the poison. From that point on, the hostility between Egil and Queen Gunnhilda would continue with spells and curses, coming to an end only when the hero, who was skilled both in rune magic and Skaldic poetry, had paid homage to King Eirik Bloodaxe by dedicating a poem to him. Influencing emotions and memories to distill a false sentiment similar to love is an action which always has consequences. Molding the interior world of another individual is all the more dangerous when you know little of them. Diminishing or igniting passion may 115 Galdrastafir

Astros Astros be held tightly in the right hand. The same text also contains other designs of an unusual appearance, in turn connected to protection from magic and invocations. This, for example, is called Drottníngar Signet, sign of the queen, and resists all spirits found under the wind. If it were not enough, the next page contains another strange design called Himinsbarnahjálmur, the Helm of the Children of Heaven. It resists everything impure in the air or on the land, and according to the text had received the approval of Snorri, according to whom the symbol had to be drawn precisely. The spellcasters probably also had the same problem as those studying the grimoires, in that they were small symbols with minor or clear variations, and they did not know what the best way to represent them was, or which was the original. Writing that Snorri, maybe an authority in the field, had given his approval was a sort of guarantee. “I remember well a young man who fled his village so as not to go to war against the enemies of his lord. The day following his flight a witch, sister of Jarl, began to harass Against witchcraft This sigil is drawn amongst the pages of the most recent of the texts called Galdrastafir, in which it states that its name is Astros, a term reminiscent of the stars. It is very powerful, and indeed offers protection from all the runes and from all carved or drawn symbols. Considering the large number of spells contained in the grimoires, a sigil able to obstruct all of them is of great interest. We may suppose that the use of these highly complex symbols sometimes requires large areas on which to carve or draw them. This could lead us to imagine a working area in a room, in a clearing or another surface able to protect the creator of the magic from the effects of the magic itself. It is useful to consider that, particularly in ancient times, arcane knowledge was perceived as a precious secret, which is at the same time of assistance or a threat to the holder. The same manuscript also contains a symbol to help those who were afraid of magic. We might think that not all spellcasters tackled the art they had decided to study and practice in a lighthearted manner, otherwise there would not have been the need for this symbol to 116 Norse Grimoire

Astros Astros 2nd-level galdrastafir Casting time: 1 action Components: V, S (a glyph drawn on a surface) Range: Touch Duration: Instantaneous When the caster draws this glyph, it marks out an area in which they have power over others’ spells. This glyph influences all the runes and all carved or drawn symbols. The caster chooses a rune, a glyph or a symbol with magic power. Every spell of 2nd level or lower contained in it ends. Magic glyphs and runes lose their power. Writing and carvings disappear, leaving the medium intact. If the target symbol carries a spell of 3rd level or higher, the caster must pass a ability check with their spellcaster ability. The DC equals 10+ the level of the spell. If successful, the effect of the spell vanishes. At Higher Levels. When the spellcaster casts this spell using a spell slot of 3rd level or higher, they can immediately put an end to the effects of the spells whose level is equal to or lower than the level of the spell slot used. Temporary tattoo effect The character can cast the Astros spell once. Permanent tattoo effect or talismanic glyph Astros is added to the list of spells known by the character. him, and every night rained down every kind of misfortune on him. When she realized, however, that her powers were not sufficient to dent the luck of the young man, she decided to appeal to those dark forces at work in the ancient sepulchers. The young man was despairing. Every night, a band of black spirits hunted him, forcing him to sleep during the day and to run around in desperation when the sun set. He was good and generous, however, with a woman, the daughter of a shepherd, who revealed herself to have profound knowledge of cures and ghosts. In order to repay him, she led him into her father’s stall and told him: “Here is a sheepskin. Wear it, otherwise the spirits will scratch you with their claws... I feel that they will be on top of you this night!” The young man and woman sat down together, and they ate, drank and had fun. Then the girl said goodbye and left. The young man put on the sheepskin, which had symbols embroidered inside it that he did not recognize. As the sun set, a foul storm came in with thunder and lightning, and the stall even began to shake. It was the evil spirits arriving at pace, and they made the animals howl with terror as they burst in. There was now an indescribable quantity of these demons, of all kinds: lame, twisted, or with too many eyes and mouths. Scream as they might, however, their fingers went up in smoke when they touched the sheepskin. Until, however, the young man was lured outside by the witch imitating the voice of the girl. He entered a magic square which immediately made the symbols embroidered inside his sheepskin disappear.” Thorleif Sikiroddr “Silk Voice” 117 Galdrastafir

Augnathurs Augnaþurs Looking at it closely, the glyph vaguely resembles an eye seen in profile, set in the face and with thick eyelashes above and below the eyeball. The same text also includes another symbol with the same purpose, adding some elements to the explanation, saying that it should be carved on the thing you wish to hide using your table knife. This is not therefore dissimilar to Augnaþurs, and indeed it is probably a variant of the same glyph copied differently, seeing as its effect is precisely that of not allowing an object to be found. We should specify that only rarely are the tools to be used to carve or draw magical symbols specified. A general rule of ritual magic therefore applies: the more the tools are imbued with history and linked to the artifice of the spell, the more significant the magical act will be. Moreover, the sign drawn may be more or less permanent, and likewise its power. In this specific case, it is expressly specified that the glyph must be carved on the medium. “Let me tell you a story from the East. An old man and old woman, both farmers, both had a daughter from a previous union. The old woman, wise but malevolent, envied The eye of the giant This symbol comes from the Rúna, where it is said to have the power to magically conceal any object on which it is carved. It is called Augnaþurs, the eye of the giant, and in the Norse world the Thurses are the ice giants, primordial creatures born of Ymir, the progenitor of their whole race, when the world was still composed of one boiling half and one completely frozen half. Odin and his brothers Vili and Vé killed Ymir, drowning almost the entire giant progeny in his blood, but those who survived had to take refuge at the ends of the earth, where they nursed their resentment as they waited for the day when they would do battle against the gods who had driven them off. In Nordic legend, the ice giants are the bitter enemies of Odin, Thor and their entire race, since they represent the forces of primigenial nature not yet ordered by the gods. They are pure, wild energy, like that of the dawn of the world, and as such are fearsome and powerful, in the service of chaos. The Augnaþurs probably aimed to use a fragment of this chaotic magic to confuse people’s eyes, hiding the object on which it was inscribed. 118 Norse Grimoire

Augnathurs Augnaþurs 6th-level galdrastafir Casting time: 1 action Components: V, S Range: Touch Duration: Concentration, up to 1 hour This symbol is said to have the power to magically conceal any object on which it is carved. It is called Augnaþurs, the eye of the giant. In Augnaþurs, a fragment of the chaotic primigenial magic of the giants shines to confuse people’s eyes, hiding the object on which it is inscribed. When the spellcaster draws this glyph on an object, it becomes inscrutable. The object is invisible for the duration of the spell. If someone wants to look for it without knowing where it is, they have disadvantage on all skill checks to try to uncover it. Moreover, if someone uses a spell to see or perceive the presence of the object, they must pass a Wisdom saving throw based on the DC of the person who drew the glyph, or the spell will not be effective. Temporary tattoo effect The character can cast the Augnaþurs spell once. Permanent tattoo effect or talismanic glyph Augnaþurs is added to the list of spells known by the character. her strong and hard-working step-daughter, and came up with a plan to rid herself of the girl. One day she sent her out to graze the sheep, and then ordered her to spin all the wool by evening. The same thing happened three days in a row. But the young girl was aided by a magical lamb with golden teeth, who talked with her and prevented her from feeling any fatigue or tiredness. But the third day the stepmother discovered her secret and had the animal slaughtered. The girl passed out with fright, and as she lay prone she dreamed a symbol. When she came to, all tearful, she stole and hid the remains of the animal inside a tree, drawing the symbol known as the eye of the giant on the handkerchief that its bright white bones were wrapped in. The story continues with the anger of vexation of the old stepmother at her poor stepdaughter, but ever time a different animal helper emerges from the tree to assist the girl in her labor. Each time the girl washed the handkerchief and drew the symbol once more to ensure that the enchanted burial was not found. Unfortunately the stepmother stepped on the hole in the tree while picking apples, slipped and was killed. Her stepdaughter now took her chance to avenge her friend, and wrapped her body in a sheet, drew the magic sign on it and buried it behind the vegetable garden. She is still there, hidden, so that no one can commemorate her death. Thorleif Sikiroddr “Silk Voice” 119 Galdrastafir

Brýnslustafir Brýnslustafir ensure that the whetstone sharpened properly. First, it was necessary to place some grass on top for a while, a gesture probably linked to the scythe and other tools responsible for cutting it, and then keeping the whetstone out of the sun and using it without looking at the cutting edge, maybe to focus more on what happened before, in other words the sharpening itself. This shows the mysterious way in which the instructions for the spell were presented to the eyes of a layman. The specifications are in coded letters, while at the bottom we can see a very famous formula in the Latin alphabet: Sator, Arepo, Tenet, Opera, Rotas. This is the magic square in which the phrase can be read starting from any direction. In the modern day it might seem difficult to understand the importance of the whetstone for sharpening, but in the Norse world it was so important that even the god Odin used it to obtain what he wanted. The Prose Edda recounts how Odin removed Baugi’s servants and worked in their place in order to find out something about the location of the Mead of Poetry. The saga tells how, while Odin was traveling around the world, he came to a place where nine servants were For a razor-sharp blade Every self-respecting Icelander carried their own personal knife with them; it was an object which was frequently useful, and was often also used to carve runes and symbols. Naturally, the knife needed a sharp blade, otherwise it would be of no use, and it is precisely for this reason that the sigil of the whetstone (brýn) existed. The same applied for weapons and work tools: having a sword which was sharper than the enemies, or a scythe able to reap all the crop before the brief summer came to a close could make all the difference. The Huld manuscript presents us with two of these symbols, one to place on top of the whetstone for sharpening, and another to carve underneath. The instructions are as follows: Carve the upper symbol on top of your whetstone and the other underneath it. Then cover it with grass for a while. Then whet away from the sun and do not look at the cutting edge. In this case, as well as the symbols themselves, some specific gestures and precautions were required to 120 Norse Grimoire

vendetta, and only when this was accomplished and the dagger had found the blood of the man who had killed her beloved father, it crumbled and blew away in the wind.” Thorleif Sikiroddr “Silk Voice” Brýnslustafir 2nd-level galdrastafir Casting time: 1 minute Components: S (Glyph on the whetstone) Range: Touch Duration: 1 hour When the spellcaster traces this glyph on the whetstone before sharpening a blade, it will be covered with silvery reflections. After use, the glyph will disappear from the whetstone. When a critical hit is made with the weapon enchanted by the glyph, an additional weapon die can be rolled to add to the damage. At Higher Levels. When the spellcaster casts this spell using a spell slot of 3rd level or higher, the weapon inflicts a die of additional damage for every two spell slot levels above 2nd. Temporary tattoo effect The character can cast the Brýnslustafir spell once. Permanent tattoo effect or talismanic glyph Brýnslustafir is added to the list of spells known by the character. reaping hay. He went up to them and asked them if they wanted him to sharpen their scythes, and they accepted his offer. So, Odin took a whetstone from his belt, sharpened the blades, and after he had done so the scythes apparently cut much better than before, and so the nine asked if they could buy the whetstone. They all wanted it and insisted on having it, and so he threw it into the air. While they all tried to catch it, they ran into each other and sliced each other’s throats. The fact that the nine peasants managed to kill each other just to try to get their hands on Odin’s whetstone shows how it was not a superfluous object, but one which was fundamentally important. “It will certainly not escape you, my friends, the importance of repairing, improving or even making exceptional what might just seem common weapons. Metal, a strong and precious material, can gain particular powers when sharpened by a master of the magic arts. There are those who even tell of the existence of blade healers. These are wise men who, without the use of any forge or tool, but simply with fire, are able to heal cracks, rebuild worn parts and even strengthen a split blade. But as often happens, suitable sacrifices have to be made in order to rebuild what has been broken. Everything that has value can be saved only if something else is lost. To this end, I will tell you of a memory, in which a young woman was fighting with a dagger made from the legbone of her father. This weapon had the power of never needing to be sharpened, because if it split it would regenerate itself and become once again as deadly as the day it was forged. It was wielded by the girl to carry out a terrible 121 Galdrastafir

Draugastefna Draugastefna before wetting them with warm water. If everything is done correctly, this should be sufficient. The fact that there were spells to banish the dead meant that they could be reawakened and sent to harm the warlock’s enemies, leaving black wounds like those that the instructions above aim to heal, or even attempting to kill the designated victim. To protect from this, there are incantations to keep the draugr at bay. Ðavídsson, once again, collected testimonies from those who claimed that specters, spirits and all nocturnal invocations feared the smell of goat liver or burned ram’s horn, and so the smoke would be sufficient to prevent them from approaching, and even placing a thorny branch outside could be sufficient to prevent them from reaching the home. The Rúna, like many other manuscripts, does not contain only symbols and the corresponding instructions, but also pages of formulas alone, like in the case of Draugastefna, the incantation used to keep draugr at bay: To banish the Draugr In the sagas, we often find creatures who belong to the world of the dead but continue to walk on the earth, pursuing those who encounter them. The Saga di Grettir is full of them, since its protagonist becomes known precisely for his ability to banish these entities better than others, although a powerful draugr is able to put a curse on him which torments him for the rest of his life. If even an expert such as Grettir can be so profoundly affected by an encounter with the living dead, we can imagine how terrified common people were of them. Ðavídsson speaks of a method to cure the wounds left by the touch of a draugr, known as draugablettir: If the draugr sent to hunt someone tries to touch them, its fingers will leave black marks, or draugablettir. With time they will become terrible sores which can even be deadly unless treated correctly. The remedy is to place precious metal on the mark, saying your prayers three times, so that the wounds do not grow. Then immerse the wounds in warm water and make three, six or nine cuts where the wounds are located, 122 Norse Grimoire

Draugastefna 3rd-level galdrastafir Casting time: 1 action Components: V, S Range: Touch Duration: 1 minute In the sagas, we often find creatures who belong to the world of the dead but continue to walk on the earth, pursuing those who encounter them. The creature struck by the spellcaster will gain resistance from necrotic damage and become immune from illnesses and curses for the duration of the spell. When the spell is cast, and at the beginning of each turn of the spellcaster, each undead able to see or hear the target creature within 30 ft. of it must perform a Wisdom saving throw. On a failed save, they must use their reaction to move away from the creature. Temporary tattoo effect The character can cast the Draugastefna spell once. Permanent tattoo effect or talismanic glyph Draugastefna is added to the list of spells known by the character. Do you, murderer, intend to kill me? From God I damn you down to the Devil. May the torture there, you maker of a thousand nets, in a hot and wide hell, hold you down. The element of the formula is of great importance in performing a spell: the words and the metric are fundamental in obtaining the desired effect. Galdur, the Icelandic term meaning magic, derives from the verb to sing, and the poet Snorri Sturluson, when he described the various forms of meter in his Prose Edda, talks about a galdralag, in other words a typical meter for spells. 123 Galdrastafir

Draumstafir Draumstafir its hand over his eyes and warns him not to go to the feast. Thorstein replies that he has given his word and means to keep it, but these dreams disturb him so much that when the day of the banquet arrives he claims that he is ill and wishes to stay at home. Towards the evening a landslide hits the witch’s house, killing everyone who has come to the banquet. A shepherd recounts that he saw her walking backwards around the house, shaking a handkerchief in which she had wrapped some gold in the direction of the mountain. “It is not easy to prevail over the fortune of Ingimund’s children, but someone has to do it. May what has been determined come to pass!” she had said, looking towards the mountain from which the landslide then descended. She had then entered the house and forcefully closed the door behind her, whereupon the rock had crumbled. The Saga of the People of Laxárdalr features a certain Gest who is said to be a fortune teller and interpreter of dreams. A woman named Gudrun tells him about four situations that she relives in her dreams every night and discovers that each of them represents one of her marriages and its outcome. At the end of the Dream Symbols Dreams were always very important in the ancient world: they were oracles, the way in which other worlds could communicate with an individual. In Norse tradition, it was believed that dreams should not be taken lightly, but rather interpreted responsibly as visions of the future or premonitions. In the Saga of Gunnlaugur Serpent-Tongue, Thorstein, son of Egil Skallagrimsson, who is highly skilled in the use of magic, dreams of two eagles that fight until they kill each other for the attention of a magnificent swan. Shortly afterwards, his wife gives birth to a girl who grows up to be the most beautiful girl in Iceland and is called Helga the Fair. Two valiant men, both intelligent and well-versed in skaldic poetry, kill each other in a duel for her, just as her father’s dream had prophesied years earlier. Helga was the white swan, while Gunnlaugr and Hrafn were the two eagles. The Saga of the People of Vatnsdal features another Thorstein, this time son of Ingimund, who is invited to a banquet by a witch who intends to kill him. For three nights in a row he has a strange dream in which his clan’s fylgja, the guardian spirit of his people, runs 124 Norse Grimoire

Had Baldr’s nightmares been merely bad dreams, rather than visions caused by the mighty force of the climactic destiny of all Nine Worlds, he might have benefited from the following symbols recommended to combat nightmares and insomnia in the more recent Galdrastafir. Draumstafir 4th-level galdrastafir Casting time: 1 action Components: V, S (a glyph drawn on white leather) Range: Spellcaster Duration: 1 week The glyph must be drawn on white or silver-colored leather and placed under a pillow. By sleeping in this way, the spellcaster can catch a glimpse of the future through dreams. Although such visions are brief, cryptic and elusive, they will prove useful in times of need. For the duration of the spell, when the spellcaster has to make an attack roll, saving throw or skill check, they can spend 1 Hit Die to roll with advantage. The maximum number of Hit Dice that can be spent for the duration of the spell equals half of the spellcaster’s level. Temporary tattoo effect The character can cast the Draumstafir spell once. Permanent tattoo effect or talismanic glyph Draumstafir is added to the list of spells known by the character. saga, after many vicissitudes that almost make one forget the predictions of the wise Gest, Gudrun looks back on her life in old age and realizes that her four marriages have gone exactly as her dreams had foretold many years earlier. The Huld manuscript features three Draumstafir: some must be drawn on white or silver-colored leather on Saint John’s Eve, i.e. the Summer Solstice, which must then be placed under a pillow. Sleeping in this way allows you to have the dreams that you desire. As discussed, dreams were a powerful means of knowing the future, so this was probably how Icelanders sought to find an answer to a dilemma that was troubling them. There are two other symbols presented on the previous page of the manuscript, one of which has the same effect as this one, although it has to be engraved on spruce wood, while the other has the extraordinary power to make others dream of what we desire. It has to be carved on oak wood and placed under the head of the person who is the target of the spell, however this person must be unaware of it. In Norse mythology, dreams are also revelatory; such is the case most notably in Baldrs draumar, an Edda poem translated as Baldr’s Dreams. The young god suffers from terrible nightmares and this greatly disturbs Odin. The gods all convene, wondering what Baldr’s dreams might signify, and finally the father of the gods decides to mount Sleipnir, his swift eight-legged steed, and descend into the underworld of Hel in search of a prophetess who can reveal the meaning of his son’s nocturnal visions. He discovers that Ragnarök is imminent and he is given a detailed account of all the events that will bring about the end of an era and a new beginning. 125 Galdrastafir

Fengur Fengur by Eric Bloodaxe, son of King Harald Fairhair, while studying magic with two Sámi wizards. She helps Eric to get rid of them both and elopes with him, becoming queen of Norway. Gunnhilda also casts spells in Egil’s Saga, this time so that her arch-enemy Egil cannot find peace until he meets her again. In return, Egil raises a nithing pole with a severed horse’s head at the top to ward off the guardian spirits for as long as Eric and his wife Gunnhilda are in power. Fengur is included in the Huld with instructions to carve it on a piece of cheese and then feed it to the woman who you want to get pregnant. However, it is not exclusive to the Huld: the Rúna proposes that these symbols be written with a finger dipped in your own saliva on the palm of a girl’s hand to win her love. If you are allowed to approach her to do this, it probably means that much of the task of seduction has already been accomplished. The instructions also require that the formula Morsa, Orsa, Dorsa be recited, which, despite not seeming to have a precise meaning, is also found in other grimoires. According to some theories, this is a mangled form of the Latin formula “ortus, mortuus, Love and fertility Fengur means benefit and gain, in short, the acquisition of something positive. Fertility understood as the growth of plants and crops, as well as of sheep and cows bearing numerous offspring or of the clan’s women, which would make the family even bigger and more prosperous, was sought by all possible means, because lack of fertility meant ruin. There were just a few Icelanders in a vast and often hostile territory, so they felt a need to congregate and proliferate, as well as to find fertile soil that would ensure the survival of humans and animals. There are therefore a number of sigils which, like incantations to ward off bad luck, address the all-too-human fear of being alone and without a livelihood. There are also numerous spells to make a maiden fall in love with the spellcaster, always involving systems to attract women, never men. The only exception is not part of a grimoire, but of a saga, Njal’s Saga, in which Queen Gunnhilda, a very intriguing character, casts a spell to bind her beloved Hrut to her forever. Gunnhilda has a fascinating life, which is told in several sagas: when she is still very young, she is found 126 Norse Grimoire

Fengur I write thee a charm and three runes therewith, Longing and madness and lust; But what I have writ I may yet unwrite If I find a need therefor. Skírnir’s terrible threats finally convince Gerd to become Freyr’s bride. Their marriage produces Fjölnir, the forefather of the Swedish kings. Fengur 3rd-level galdrastafir Casting time: 1 minute Components: V, S (a glyph carved or drawn on food) Range: 30 feet Duration: Concentration, up to 1 hour When the spellcaster draws this glyph, life flows through them into their surroundings. Creatures of the caster’s choice within range experience an indescribable sense of relief and gain 3d10 temporary hit points, becoming immune to the effects of exhaustion for the duration of the spell. Temporary tattoo effect The character can cast the Fengur spell once. Permanent tattoo effect or talismanic glyph Fengur is added to the list of spells known by the character. resurrectus”, i.e. “born, died and resurrected”, perhaps because it was quoted by someone who did not know Latin after hearing it uttered by others. In Norse mythology, the divinities associated with fertility are Freyr and Freyja, the gods of nature, the harvest and offspring. Freyr is considered to be the progenitor of the noblest Scandinavian clans and the Ynglinga Saga lists the line of Swedish and Norwegian kings descended from Yngvi-Freyr himself. His sister Freyja is the goddess of love and plenty. She is regarded as the richest of the gods and possesses the Brisingamen necklace, which she obtains by descending into the depths of the earth and surrendering her body to some dwarfs. When she brings it to the surface, the pure gold from which it is made glitters in the sunlight, arousing the envy and wonder of all the other gods. Freyja’s descent underground to bring Brisingamen to light is most likely a metaphor for the growth of grain, which is fertilized in the depths and which, at the right moment, sprouts from the earth and looks golden in the sunlight. One of the poems of the Poetic Edda, Skírnismál, tells the story of Skírnir, a devoted servant of Freyr who is sent on his behalf to ask for the hand of Gerd, a giantess associated with the earth. At first, the maiden refuses to accept Freyr’s offer, even after Skírnir offers her gifts and favors. The servant then has to resort to threats, scaring Gerd with a fearsome spell that will cause her nothing but heartbreak and despair unless she agrees to marry Freyr. 127 Galdrastafir

Galdratöluskip Galdratöluskip persuasion or the act of convincing, although it is used in many different ways: to win someone’s love, to convince someone to do something or to rouse or provoke an adversary. The two symbols appear close together in the Einkaeign, as if they were somehow related. The Galdratöluskip could be a bandrun or bind rune, namely a set of runes fused together to create that particular design, even if its possible meaning has been lost. Skuggi, in his grimoire, also adds a formula, claiming that this symbol was used to sink the ships of pirates and Turks: The sails are unfurled, hanging from the tangled rope. I have seen engraved runes, I vaguely recall them now. May threats and storms sweep through the land, may the sea swell with the sand sent by the enemy. It is not clear where the symbol must be drawn to have an effect on an enemy ship. Many spells relating to the The ship of magic numbers Although the oldest version of this symbol is found in the Huld, for the sake of legibility I would first suggest that of Leifar fornra þjóðlegra fræða íslenskra, who copied it from there. The name given to this symbol is Galdratöluskip, the Ship of Magic Numbers, but it is sometimes also called Talbyrdingur, Table for Recognition, or Configuration, a term that is surprising, since it is not in Latin or even Icelandic and implies a possible link with the British Isles. The inscription states that the Galdratöluskip, despite its almost dreamlike name, was used by the ancients to destroy enemy ships. In its oldest version it is accompanied by two words that appear at the end of the oblique arms on the right, Ginnir and Gapi, which can also be found in other galdrastafir. Gapi means “planks” and, since it is at the bottom of the design it may represent the bottom of a ship, covered with wooden planks. There is a symbol called Angurgapi, which can be roughly translated as “control of the planks”, which has the opposite purpose, namely to prevent the bottom of the ship from taking on water. Ginnir, on the other hand, means 128 Norse Grimoire

their black magic into that waterfall and out of it came Ogmund, a man who cannot be harmed by ordinary mortals and who was specifically created to kill you.’ Both the Lyngbakur and the Hafgufa seem to be reinterpretations of the myth of the aspidochelone, which is portrayed twice in the Icelandic Physiologus. One with its back covered in vegetation and another with its jaws wide open. Galdratöluskip 5th-level galdrastafir Casting time: 1 action Components: V, S (a glyph drawn or carved on a surface) Range: 500 feet Duration: Concentration, up to 1 minute When the spellcaster draws this glyph on any surface, it is magically transposed to the target, which must be visible to the spellcaster and within the spell’s range. The speed of the target vehicle is reduced to 0. On subsequent turns (after the spell has been cast), the spellcaster may use their action to inflict 6d6 force damage on the target of the glyph. Often the attack does not have a form that can be easily understood by those unfamiliar with this spell. Temporary tattoo effect The character can cast the Galdratöluskip spell once. Permanent tattoo effect or talismanic glyph Galdratöluskip is added to the list of spells known by the character. sea do not involve direct contact with the target. Rather, they are drawn on media that represent it, according to the laws of similarity, affinity and symbol. In this specific case, it is possible that the glyph was drawn close to the sea, thereby invoking its strength, or more likely on the most dangerous coastal rocks. Those sharp rocks that have already taken so many lives from the land and brought brave sailors and fishermen down into the dark depths of the northern seas. Some claim, however, that a variant of these symbols has been found several times engraved on targeted ships. As if invisible saboteurs had climbed up while the ship was being loaded and unloaded to engrave, unseen, the fatal curse. There is a creature linked to disasters at sea, the Lyngbakr, literally “heather back”. It is a colossal sea monster similar to a legendary whale reported in the Saga of Örvar-Odd. According to the saga, the Lyngbakr tries to attract seafarers by pretending to be an island covered by a thick blanket of heather. If the crew of a ship happens to land on the monster’s back, it will drag them down into the depths. Oddr escapes this fate, but nonetheless spots both the island of heather and two strange twin rocks. The latter were none other than the monstrous nose of the Hafgufa, a creature similar to the Lyngbakr, but with jaws that can extend to the width of a fjord. Ögmundr had certainly summoned the beasts to kill Oddr and his men. Ögmundr deserves a brief mention. When Oddr asks a wise man the whereabouts of his enemy, the man replies: “Are you sure you want to challenge him? No man can defeat him, since he was created using Lappish magic. Beyond a waterfall lived a finngalkin, a woman with a feral body, similar to that of a troll but with sharp claws and a long tail. The wizards of Bjarmaland condensed all 129 Galdrastafir

Gandreidarstafur Gandreiðarstafur could sometimes be spotted in the night sky. European folklore is full of legends about the Wild Hunt. Scandinavian legend has it that this infernal army was led by Odin himself, accompanied by loud barking dogs. The appearance of the procession heralded trouble, so it was best to hide if you happened to encounter it. It is said that Odin always followed the same routes, so sometimes new buildings in his path would be swept away by the fury of the spirit army, which certainly had no intention of changing direction for something so trivial. In the Saga of Helgi Hundingsbane, which tells of the love between the mortal hero Helgi and the valkyrie Sigrún, after Helgi’s death his beloved sees him one last time as he rides in Odin’s retinue. It is one of Sigrún’s handmaids who notices him, observing the frightening procession: What is this I see? Perhaps it’s a hallucination or is Ragnarök approaching? I see people riding who have died, warriors are returning: have they found redemption? To go wherever you want The Leifar fornra þjóðlegra fræða íslenskra manuscript, which boasts over five hundred symbols, opens with the Ganðreidarstafur, the wild ride symbol. In Icelandic Ganðreid is a term related to travel, especially by air, by supernatural beings such as spirits or witches. The word also refers to a witch’s flight on her magic broom. After a complex ritual, this symbol could apparently get you wherever you wanted to go. The Galdraskræða Skugga gives complicated instructions for making the bit and the reins using the skin of a recently deceased man. They then had to be placed on a horse skull on which the symbol was drawn using blood taken from the leg of a foal and from the foot of the spellcaster. At that point, the harnessed horse’s head would take flight, travelling as fast as lightning and reaching anywhere you wanted to go. Nowadays we tend to think of it as being linked to travelling, exploring new places and having new experiences, but we must not forget that in ancient mythology the wild ride was undertaken by spirits, sometimes by the dead, and was a procession that was magnificent and frightening in equal measure and 130 Norse Grimoire

Gandreiðarstafur 6th-level galdrastafir Casting time: 1 action Components: V, S, M (a glyph drawn or carved on a horse skull) Range: Touch Duration: Concentration, up to 1 minute The spellcaster must make their own bit and reins using the skin of a sacrifice. They must then harness the horse skull on which the symbol was drawn, using blood taken from a foal’s leg and from the spellcaster’s foot. At this point, the harnessed horse’s head will take flight, travelling as fast as lightning and reaching anywhere the caster wants to go. For the duration of the spell a spectral horse appears in the bridle that the caster has prepared. The skull is barely visible amidst the translucent flesh of the magical beast. A creature can ride the steed and fly with it through storms. It can move 18 miles in an hour, or 25 miles at a fast pace, flying. Temporary tattoo effect The character can cast the Gandreiðarstafur spell once. Permanent tattoo effect or talismanic glyph Gandreiðarstafur is added to the list of spells known by the character. The handmaid hastens to warn Sigrún, who immediately rushes to embrace her Helgi again. She finds him covered in frost, his wounds still open and spurting blood. He tells her that every night when she shed tears thinking of his death, they fell as cold as frost on his body, which is why he is covered in it. Sigrún asks him to stay, but Helgi is unable to: he is following Odin to the halls of Valhalla so, after that night, they will never see each other again. However, they are said to have both found each other again in their afterlife, in which they were finally able to be together. The pages of the Einkaeign and Galdrastafir also bear this symbol and its complexity and symmetry certainly make it intriguing. “I’ll be damned if I’m going to tell a single story about The Procession. I saw it as a child and learned not to talk about that night to avoid summoning it to me. But I can tell you a story about enchanted bridles, that I can do. A long time ago, not too far from here, lived a boy and his two older brothers who had inherited a wheat field from their father. However, someone had been raiding it every night for some time. The older brother decided to keep watch for the thief, but he fell asleep under the moonlight and saw no one. On the second night, the middle brother offered to do the same, but he too fell asleep and only woke up in the morning. So the younger boy stepped up, but he devised a way not to fall asleep by getting pricked by a thorn every time he tried to lie down. Thus he saw horses arrive that were so beautiful that they could not belong to this world. They began to eat the grain. It was then that the boy realized he was not alone. An old wayfarer, silent as the night, approached him. He offered to help him and asked the field mice to bring him the horses’ long silver bridles. This meant that they could not escape; therefore, in order to be freed, the steeds used human voices and gave the young man their bridles, telling him to shake them whenever he needed help, because they would come to escort him wherever he wished. Thorleif Sikiroddr “Silk Voice” 131 Galdrastafir

Gapaldur and Ginfaxi Gapaldur and Ginfaxi day he asked Ref to fight him. Ref was not particularly drawn to these pastimes and refused, but Gellir did not accept his refusal and he pounced on him with all his strength. Ref knew that he could not win against his opponent, but he used his own momentum to grab him and throw him to the ground. Ginfaxi appears in a number of manuscripts, including the Einkaeign and the Leifar fornra þjóðlegra fræða íslenskra, in which its appearance is more similar to how it is known today. In the Rúna it is accompanied by Gapandi since these two symbols are complementary and can only work in combination. The text states that they should be kept inside the shoes or under the soles: Gapaldur under the heel of the right foot and Ginfaxi just under the toes of the left foot. Only if used in this way would they help the wearer to win during a glima fight. Glima is famous for its code of honor, known as drengskapur, meaning “manliness”, which requires respect for the opponent and concern for the safety and well-being of sparring partners. According to Skuggi, having these symbols on the inside of shoes or socks would ensure that nothing To win in the fight Ginfaxi, accompanied by Gapaldur, is known for its power to win every fight, but it should be noted that this does not apply to every kind of clash. Both originally and in Icelandic manuscripts, these symbols were used to ensure victory in glima, a type of unarmed fighting popular in Iceland to not only test an opponent’s strength, but also their cunning, speed and honor. Through a tight game of grapples and feints, two challengers faced each other, trying to throw each other to the ground. The peoples of the North trained as children in this kind of fight, which did not always favor the strongest. The Saga of Ref the Sly tells the story of Ref Steinsson, from the terrible bloody events of his youth to his greatness in the art of combat and subterfuge. Indeed, his name, in Norse, literally means “fox”. A minor event in his youth demonstrates how a crafty, but slender boy can bring down a much burlier boy using his own momentum. A boy named Gellir lived on Gest’s farm. He was around the same age as Ref, but was his exact opposite. He was an athletic and impulsive boy who loved to fight and play games of strength and endurance. One 132 Norse Grimoire

Gapaldur & Ginfaxi 1st-level galdrastafir Casting time: 1 action Components: S (two glyphs drawn under the feet) Range: Self Duration: 1 minute These symbols are used to ensure victory in combat. They must be kept inside the shoes or under the soles: Gapaldur under the heel of the right foot and Ginfaxi just under the toes of the left foot. By pivoting their weight on the glyphs, the spellcaster delivers a violent blow using their whole body. The target must make a Constitution saving throw or be flung 20 feet away, fall prone and suffer 3d8 blunt damage. At Higher Levels. When the spellcaster casts this spell using a spell slot of 2nd level or higher, they can add an additional 1d8 to the damage for each slot level above 1st. Temporary tattoo effect The character can cast the Gapaldur & Ginfaxi spell once. Permanent tattoo effect or talismanic glyph Gapaldur & Ginfaxi is added to the list of spells known by the character. could lift the spellcaster’s feet off the ground. He also adds a formula for activating it, which had to be uttered before an encounter: Gapaldur under the heel, Ginfaxi under the toes, face me, opponent, and you’ll find out how hard it is to lift me up. Glima was traditionally practiced outdoors with clothing suitable for harsh weather conditions. The weather could make everything cold and slippery, which added an important element of strategy to glima. The wrestler had to be well-prepared and agile, both in body and mind. The fight was conducted on the sides of cliffs or in any natural setting that offered a minimal amount of shelter. These places were referred to as Glimuholl, literally “glima halls”. 133 Galdrastafir

Hrídarbylurstafur Hríðarbylurstafur knock him overboard, where he meets his demise in the waves of the Black Sea. In Njal’s Saga this spell is used to disrupt enemies during a chase. Thjostolf, the adoptive father of a maiden named Halgerd, who has an evil gleam in her eyes and later causes great distress to her loved ones, witnesses a scene in which his daughter, after insulting and denigrating the man whom she has recently married, is slapped by him. Thjostolf cannot accept this violent act towards the girl and he kills her husband. The clansmen of the murdered husband look for Thjostolf to exact revenge, but his relative Svan is a powerful wizard and he waves a goatskin in the direction of the pursuers, raising a terrible storm. The men can no longer see an inch from their own nose; the horses bolt and gallop away, leaving their riders on the ground, who, lost and frozen, are forced to turn back. In these examples, the spellcaster summons the storm by shaking a cloak or hide, puffing and imitating the sound of wind. In the Saga of the People of Vatnsdal, a woman devoted to the magical arts named Helga invokes a blizzard to save two members of her clan from certain Summon a storm In Iceland, bad weather could be very dangerous, sinking ships – the only way to trade or remain in communication with the outside world – ruining crops and blocking viable routes. Invoking bad weather against enemies could therefore seriously damage them and the sagas include stories of storms unleashed against approaching fleets or blizzards invoked to prevent opponents from going to a duel. The Ynglinga Saga, in which Snorri Sturluson recounts the lineage of the first Swedish kings, tells of Eystein’s ill-fated expedition to the land of Varna, the pearl of the Black Sea. He meets with resistance from Skjold, a powerful wizard who spots the sails of the enemy fleet in the distance and goes to the top of the cliff. As soon as he catches sight of the king’s ship, Skjold immediately takes off his cloak and waves it at his adversaries, puffing and uttering ancient words. A violent gust of wind hits Eystein’s fleet: the rigging begins to creak dangerously, the masts and yards fracture and the sails threaten to tear. Another vessel collides with the king’s ship and one of the masts swings and strikes the king. The jolt and the thrust 134 Norse Grimoire

in ways that mortals cannot imagine. Thor’s name is often associated with certain atmospheric phenomena, so much so that in the Nordic languages the word used to describe them often contains the god’s name. Hríðarbylurstafur 3rd-level galdrastafir Casting time: 1 action Components: V, S, M (a glyph drawn on fabric) Range: Self (60 feet) Duration: Concentration, up to 1 minute The spellcaster summons the storm by shaking a cloak or hide on which the glyph has been drawn, puffing and imitating the sound of wind. This will instantly invoke a violent storm. All creatures in the spell’s area of effect must make a Strength saving throw or fall prone. For the spell’s duration the storm area is considered difficult terrain and all vehicles move at half their normal speed. All attacks made in the area with ranged weapons or towards a target in the area have disadvantage. If the spellcaster draws this glyph while at sea the affected area increases to 1 mile. Temporary tattoo effect The character can cast the Hríðarbylurstafur spell once. Permanent tattoo effect or talismanic glyph Hríðarbylurstafur is added to the list of spells known by the character. death: they had dared to challenge Thorstein and Jokul to a duel, two brave and powerful warriors who were blessed with good fortune. Knowing that her clansman will not stand a chance in this encounter, she casts a spell that causes heavy snowfall. The next day the viable paths are completely blocked and therefore the dual cannot take place. Jokul, however, who is very impulsive, does not want his opponents to get away with it, so he unleashes against them the curse of the horse’s head, the same curse used by Egil against King Eric Bloodaxe and Queen Gunnhilda. Returning to this particular spell, the manuscript provides some guidance on how to use the symbol to stir up a terrible storm. It says that you should take the head of a ling, a common fish in Scandinavia, and carve the spell onto it. You should then walk north, waving it in the air. Although in this case no cloak or hide is used, as is the case in the sagas, there is still an element that must be waved, imitating the force of the wind. Perhaps, the fact that a fish has to be used implies that the destructive power must come from the ocean; storms that come from the sea are in fact the most dangerous. You must also walk north, the direction from which the coldest and most violent storms come, in order to summon the clouds and cause the spell to take effect. It is not known whether there is a connection between symbols such as this and the patron deities of the summoned elements. It is fascinating to think that a spell as far-reaching as summoning a storm could not be cast without Thor himself sensing it. Of course, knowing the god in question, he would be unlikely to care, but some gods are close to natural elements 135 Galdrastafir

Hulinshjálmur Hulinshjálmur is Mjölnir, Thor’s hammer. In Wagner’s opera The Ring of the Nibelung, the giant Fafnir wears a helmet that allows him to change form and transform himself into a dragon to guard the treasure of the Rhine. This helmet also allows the wearer to turn invisible or to appear as someone else and it is thanks to this power that Siegfried, in the guise of Gunther, wins a duel with the valkyrie Brünnhilde to marry her. Wagner’s opera is a retelling of the Nibelungenlied: the original version also contained a magical object that could make the wearer invisible, but it was a cloak, rather than a helmet. One might think that Wagner merged the tradition of the Helm of Awe with that of the Cloak of Invisibility, but the term Hulinshjálmur undoubtedly refers to a helmet and the oldest manuscript containing this symbol dates from a few centuries before Wagner’s birth, so it must have had its own place in legends for a long time. The Nibelungenlied tells us certain details about the dwarfs at the point when Siegfried promises to help Gunther in exchange for marriage to his sister. The hero pretends to be Gunther and confronts The helm of invisibility Many stories, both traditional and modern, feature a magical object that can conceal its wearer from enemies’ sight or change the wearer’s appearance to help them accomplish their mission. This concept was also known to the Icelanders and there is even a galdrastafur specifically designed to hide the wearer and make them invisible. The name of this symbol literally means “Helmet that Conceals” and it is said to have been one of the great artefacts forged by the dwarfs. All the most precious and powerful objects of the Norse world were created by the most skilled dwarf craftsmen. Loki, the most cunning of the gods, challenges them to forge an object even better than Gungnir, Odin’s spear, or Skidbladnir, Freyr’s magic ship, which always knew the right direction and could be folded like a handkerchief. Although Loki turns into a fly and continues to pester the dwarfs, they manage to forge other extraordinary artefacts: the first is Gullinbursti, Freyr’s golden boar, which can run on the ground, on water and even in the air; the second is Draupnir, Odin’s ring which, every nine nights, multiplies nine times; finally, the third great magical object 136 Norse Grimoire

Hulinshjálmur 1st-level galdrastafir Casting time: 1 action Components: V, S Range: Self Duration: 1 round Legends tell of heroes who were made invisible to their enemies, emerging victorious in the task at hand. This spell was originally created by the dwarfs, who concealed themselves from view just as clouds hide the sun. When the spell is cast, a swirling nimbostratus envelops the spellcaster for an instant. When the clouds dissipate, the caster vanishes with them. Everything that the target is wearing or carrying becomes invisible while it remains on their person. When the spellcaster casts this spell they become invisible. The invisibility lasts until the end of their next turn. If the caster attacks or casts another spell the glyph’s effect ends. Temporary tattoo effect The character can cast the Hulinshjálmur spell once. Permanent tattoo effect or talismanic glyph Hulinshjálmur is added to the list of spells known by the character. Brünnhilde, but in order to do so he needs the magic cloak that conceals his true appearance: I have heard strange stories about wild clans of dwarfs, of how they live in the mountains, in secret caves protected by a mantle of clouds and arcane spells that keeps them safe from prying eyes. The dwarfs therefore possessed an artefact that concealed them from view and it is precisely this cloak that Siegfried conquers when he defeats the dragon Fafnir and seizes his treasure. Perhaps because it is mentioned in the sagas, we learn that this symbol was always drawn in much the same way, which suggests that it must have been a familiar design in Icelandic tradition. The appearance of the Hulinshjálmur in the Galdrastafir manuscript, dated 1676, is no different from that of the same sigil in the Einkaeign, written a few centuries later. The Lay of Alvíss, the last chapter in the Poetic Edda, recounts how the dwarf Alvíss wanted to marry Thor’s daughter and how the god, in order to avoid this undesirable marriage, proposes that Alvíss answer his questions in order to prove his worth. The dwarf Alvíss is very wise and, having travelled through all the Nine Worlds, he knows the names of everything, so Thor keeps him busy with new questions until sunrise, when poor Alvíss, who is a creature from the depths of the earth and therefore cannot endure the sun’s rays, is turned to stone. In the stanza in which Thor asks the dwarf what the clouds are called by the various peoples who inhabit the worlds that branch out around Yggdrasil, the answer is as follows: “Clouds” men name them, “Rain-Hope” gods call them, The Wanes call them “Kites of the Wind”; “Water-Hope” giants, “Weather-Might” elves, “The Helmet of Secrets” in hell. The last name given to the clouds, the one that belongs to the realms of the underworld, the places where dwarfs dwell, is Helmet of Secrets or hjalm huliðs, just like our sigil. Just as the clouds shroud and hide the sun, so the Hulinshjálmur shields the wearer from view. 137 Galdrastafir

Kaupaloki Kaupaloki obstruct him in every way possible? On this occasion, Loki transforms himself into a filly in order to distract the mighty stallion dragging the boulders and logs for construction, thereby succeeding in slowing down the work and withholding the promised payment, which is no trifle, since it consists of marriage to the goddess Freyja, as well as the Sun and the Moon. In another legend, Loki battles the giant Thiassi, who has transformed into an eagle. Thiassi rises into the air, holding Loki tightly in his claws, and threatens to drop him into the void unless Loki promises to deliver him Idun, the goddess of the golden apples. Loki vows to do so and is set back down on the ground. Although he is now safe and sound, he has a terrible task to carry out. Taking the golden apples from the gods and handing them over to the giants would mean ruin because those golden fruits contained the gift of eternal life. However, having made a promise he now has to honor the deal. He manages to lead Idun into Thiassi’s clutches under false pretenses, but then regrets it and returns to look for her, wearing Freyja’s cloak, which turns anyone wearing it into a falcon. Flying over the world, he finally spots Idun and, after a daring To prosper in trade and business Trade has always been vitally important, even if it was not always conducted in the clear terms that are used today. It was often necessary to wait a long time before receiving payment or goods and there was also the possibility that the other party would not behave honestly. The Kaupaloki, literally “Trade Lock” served to ensure that the deal was respected by both parties. It comes in various forms, the most famous of which is the one presented here, which resembles a busy man or the arms of a scale, a very useful tool for trade. The name of this sigil, Kaupaloki, brings to mind that of a cunning Norse deity who is always ready to find the most advantageous loophole in any situation: Loki, the controversial god of fire and subterfuge. In this case, “loki” is understood as a padlock, knot or seal, something that concludes a deal, so that neither party can back out, however the association with the Norse god is by no means misplaced. Wasn’t it Loki who had the idea of convincing a giant to build a fortress for the gods in a very short space of time and then, after discovering that, in spite of everything, the giant was succeeding in his task, tried to 138 Norse Grimoire

Kaupaloki Kaupaloki Galdrastafir cantrip Casting time: 1 action Components: S (a glyph drawn on each palm of the hands) Range: Self Duration: 10 minutes When the spellcaster draws this glyph with saliva on each palm of their hands their veins glow with a golden light for an instant and they gain a blessing for their bartering. The caster has advantage on Charisma checks made to negotiate the price of a good that they want to sell or buy. Failing a check while this spell is active on the caster, does not affect another person’s attitude towards them. Temporary tattoo effect The character can cast the Kaupaloki spell once. Permanent tattoo effect or talismanic glyph Kaupaloki is added to the list of spells known by the character. escape, he manages to bring her back to Asgard. Thus Loki was the god who made profitable deals and always found a way to get away with it, even when the conditions did not appear to be in his favor, so his cunning could prove very useful to merchants and all those who struck deals and traded. It is therefore quite common, in a large market or port, to see similar symbols drawn on boards, jewelry, counters or amulets. In their presence words become solemn, heavy and impossible to ignore. As serious as oaths, even when spoken with a smile. 139 Galdrastafir

Lásabrjótur Lásabrjótur and make everything and everyone inside disappear. On the eve of the following Yule, Grettir helps the woman and her daughter escape to safety. At midnight he hears strange noises and discovers that a frightening troll woman has broken into the house. Grettir leaps on her and a furious fight ensues between the two. Grettir, although at the limit of his strength, strenuously resists until dawn. As soon as the first ray of sunlight illuminates the valley, the troll woman turns to stone. In the Vatnsdæla Saga we learn about the existence of a peculiar man, Thorolf Sledgehammer, who has made stealing his way of life. He robs his neighbors and is protected by twenty huge black cats who fight for him. It is not difficult for the three brothers Thorstein, Jokul and Thorir to outsmart this new troublemaker. They surround his house and drive the cats away with smoke, then chase Thorolf who, while running for his life, falls off a cliff. This, as well as other similar events, such as in the Saga of Burnt Njal, epitomizes the Norse fear of being robbed. There are therefore other symbols, rituals and spells specifically designed to protect people against such crimes or to help them track down the To open a lock without a key This sigil resembles a lock with three holes for keys, or a complicated padlock, and considering that its purpose is to open every door, perhaps this is what the artist intended. It is found in the Huld together with an explanation and the verses, coded in the runic alphabet, that must be uttered to activate it. By placing this symbol on a closed padlock or lock, blowing into it and saying the right words, it would open. The formula reads: “May trolls grasp one side of the lock and demons the other so it breaks!” The Saga of Grettir the Strong describes a raid by trolls who break into people’s houses, ignoring all the locks that protect them. The protagonist of the story is asked to thwart this attack, which is about to happen for the third time. While wandering around looking for a new place to live, Grettir learns that a woman named Steinvor is seeking help against an evil spirit. Accustomed to dealing with this kind of creature, he goes to the woman and asks her what the problem is. Every Yule, while the woman was at mass, a being would enter her house 140 Norse Grimoire

recount that the passage closed behind him, returning to bare rock, and that the king never returned. Perhaps he really did find Odin and now feasts with him in the realm of the gods. Lásabrjótur 4th-level galdrastafir Casting time: 1 action Components: V, S (a glyph drawn on the object that the caster wishes to open) Range:Touch Duration: Instantaneous The spellcaster must draw this glyph on a closed padlock or lock, blow into it and utter the following words to open it: “May trolls grasp one side of the lock and demons the other so it breaks!”. After the spellcaster has cast this spell on an object that can be opened, such as a door or lock, it opens. If there are no further locks or ties left to open, the object opens by itself. Temporary tattoo effect The character can cast the Lásabrjótur spell once. Permanent tattoo effect or talismanic glyph Lásabrjótur is added to the list of spells known by the character. perpetrator. Use of Lásabrjótur should therefore not be taken lightly because, while it is certainly true that Viking dwellings were not impregnable, it is equally well-known that serious consequences befell those who stole and plundered. Appropriating goods, even of little value, in a culture in which people were accustomed to owning the bare essentials, was seen as a despicable crime. Losing a weapon, your food supply or the tools of your trade could lead a family to ruin and, soon after, death. Another interesting symbol is Holastafúr, which literally means “stave of the hole” and is used evocatively “to open the hills”. It is not known exactly what was meant by this, but its similarity to Lásabrjótur is immediately apparent. We know that the spellcaster had to draw this spell to open the door embedded in the earth and reveal its underground secrets. The Saga of the People of Vatnsdal contains a reference to these openings in the hills. Sveigder son of Fjölnir, seated on the throne that formerly belonged to his father, loved to eagerly listen to legends about Asgard. He wandered for many years in search of it and legend has it that one evening he came across a stone with a dwarf sitting beneath it. The king approached and the creature addressed him: “I know you are looking for Odin and if you cross the threshold guarded by this ancient stone, you will finally meet him.” Sveigder did not hesitate and went through the portal that had opened in the stone. The texts 141 Galdrastafir

Líffstafur Líffstafur holt (i.e. “Mimir’s treasure”) may be located within Yggdrasil, the great world tree, whose roots conceal Mimir”s Well, where his oracular head – which could bestow infinite wisdom – was thrown. The last men must therefore find shelter in the trunk of the great tree, just as in the beginning they were created from two trunks of ash and elm through the intercession of the gods. In the Vafthrudnismal, Odin and the giant Vafthrudnir discuss what will happen to mankind when the last battle is waged: In Hoddmimir’s wood, shall hide themselves Lif and Lifthrasir then; The morning dews, for meat shall they have, Such food shall men then find. Dew, for the Norse people, is none other than the water of Mimir’s Well which, from the branches of the great tree, reaches the earth. By drinking deeply from the Well, Líf and Lífþrasir will prevent the race of men from dying out and life will continue to exist, stronger and more flourishing than before. The symbol of life This symbol from the Galdrastafir is deeply connected to life. It should be carved on Norwegian spruce wood and then stained with blood from the right side of the chest area, from a vein on the left hand and finally from under the tongue. Skuggi recommends drawing it using a hawk feather at a time when both the sun and the moon are visible in the sky. The grimoires do not specify anything other than this method, so we do not know what the Líffstafur was used for, although its name has come down to us and this gives us an important clue. Líf means life, so this symbol must have been used to strengthen or defend it. We can go a few steps further by recalling that, in Norse mythology, there are two figures respectively named Líf (“Life”) and Lífþrasir (“Love” or “Desire for Life”). These will be the only two human beings to escape Ragnarök, hiding in a place referred to in the Poetic Edda as “Hoddmímis holt”. Once the world has been renewed, it will be these two people who give birth to a new bloodline of human beings, becoming the ancestors of every man or woman to come. Many scholars have speculated that Hoddmímis 142 Norse Grimoire

Líffstafur the right side of the spellcaster’s chest. To instantly activate the effect of the glyph, the caster must follow its contours using a falcon feather. When the caster draws this glyph they are imbued with a sacred force that brings them closer to the gods and they gain the ability to heal on contact. The target creature regains hit points equal to 3d8 plus the caster’s ability modifier. If the targeted creature has 0 hit points, it regains twice that amount. Temporary tattoo effect The character can cast the Líffstafur spell once. Permanent tattoo effect or talismanic glyph Líffstafur is added to the list of spells known by the character. The inside of this symbol resembles a leaf or a tree with many branches, from which two equal and opposite elements, one on the right and one on the left, seem to spring. At the top we can see a man with his hands held high, seeking contact with the sacred and the realm of the gods, perhaps celebrating life or raising his prayer so that it may be fulfilled. L íffstafur 5th-level galdrastafir Casting time: 1 action Components: V, M, S (a glyph carved on wood) Range: Touch Duration: Instantaneous This symbol is deeply connected to life. It must first be carved on spruce wood and then dyed with blood from 143 Galdrastafir

Lukkustafir Lukkustafir The Rúna also features a lucky symbol, which is not called Lukkustafur, but Heillahnútur, the Magic Knot. Written on parchment or engraved in metal and carried at all times, it is said to attract good fortune. The Galdraskræða contains a symbol called Lukkuhringur, the Ring of Fortune, which is said to counteract all evil thoughts. L ucky symbols Lukkustafir means lucky symbols and they are designed to bring good fortune. The symbols depicted here come from the Huld, where it is written that whoever carries them need not fear accidents either on land or at sea. The words Alpha and Omega, the first and last letters of the Greek alphabet, are recognizable but seem to have nothing to do with the glyphs beneath them. These two letters nevertheless convey an idea of completeness, since they are the beginning and the end, and because of this they are considered a difficult defense to cross. Naturally this spell derives from Christian tradition: in the Book of Revelation Christ says “I am the Alpha and the Omega”; in other words, the beginning and end of all things. 144 Norse Grimoire

Lukkustafir Galdrastafir with a knife, which she then dyes red with her own blood. Finally, she walks backwards, in the opposite direction to the sun, murmuring ancient and powerful spells, and then asks her son Thorbjorn to throw the trunk into the water, saying that it will reach the island where Grettir lives, fulfilling her curse. The steps performed by the witch are the same as those contained in the grimoires, namely carving runes and symbols into wood and then dyeing it with blood. Grettir, seeing the floating trunk covered in carvings, decides to leave it beyond the rocks, but a lazy and careless servant picks it up to rekindle the fire. While he is chopping it up with an axe, the axe breaks and one of the fragments ends up in Grettir’s leg. The wound, though minor, becomes infected, leading to the death of one of Iceland’s bravest men. Fortune and misfortune are sometimes brought by blessed or cursed objects even when they are not created for this purpose. The most famous example is Andvaranaut, the magic ring initially owned by the dwarf Andvari, which was the source of the Nibelungs’ misfortunes. In this case, as in many others, simply coming into contact with a form of power that is too great and not intended for men is enough to meet an unhappy fate. L ukkustafur 7th-level galdrastafir Casting time: 1 action Components: V Range: Self Duration: 1 minute When the spellcaster draws this glyph, the protection of fortune descends upon them. They gain advantage on saving throws and attack rolls, while enemies gain disadvantage on attack rolls against them. Once before the end of the spell, if an attack hits the caster, they can use their reaction to force the attacker to make a Dexterity saving throw. If the saving throw fails, the attacker suffers damage equal to the damage that they have inflicted. Temporary tattoo effect The character can cast the Lukkustafur spell once. Permanent tattoo effect or talismanic glyph Lukkustafur is added to the list of spells known by the character. The same text also includes a symbol used to make things turn out the way you want them to. It must be drawn on the palm of the left hand and looks like this: Luck was a real concept for the ancient Icelandic people. The protagonist of the Saga of the People of Vatnsdal, Thorstein, is often described as a lucky man. His son Ingimund and his grandchildren also inherit this fortune from him and succeed in everything they do. Various adversaries seek by force or magic arts to overturn their good fortune, but without success. A witch named Groa invites Thorstein (the grandson of the first man to bear this name in the saga) to a feast at her house, with the secret intention of killing him. We have already seen how the fylgia, the guardian spirit of his clan, appeared to him in a dream to warn him and prevent him from attending the banquet, but the witch’s words, before bringing down an avalanche on the house where she hoped her victim had entered, were as follows: “It is not easy to prevail over the fortune of Ingimund’s children, but someone has to do it. May what has been determined come to pass!” Once again Thorstein’s luck did not fail and Groa perished in the landslide that she herself had caused by casting a spell. As well as invoking good luck for yourself and your loved ones, you could also send bad luck to plague your enemies. This is exactly what a witch does in the Saga of Grettir, determined to get rid of the exile Grettir, who has already humiliated her and her son on one occasion. The witch searches the beach for a tree trunk big enough for a man to carry and carves runes into it 145

Missinningarstafur Missinningarstafur one side and held a sword. He was very tall, looked very old and only had one eye. He inserted the sword into the bark of the tree, right down to the hilt, then exclaimed: “Whoever draws this sword from the trunk will enjoy my favor and will never find a better weapon than this.” The mysterious man then left the room, without anyone knowing who he was or where he came from. Similarly, in the Grímnismál, The Lay of Grímnir, one of the chapters of the Poetic Edda, Odin presents himself to the court of King Geirrodr, saying that his name is Grimnir (“the Masked One”), in order to test his hospitality. He is chained and mistreated and only the king’s little son takes pity on him and brings him a drink. Odin then makes a long speech, imparting knowledge of the gods’ dwellings to the boy, and finally reveals his own identity, listing the many names by which he is called. Perhaps in this long speech of mine you will have understood who I am: I was called Grimnir, the Masked One, Gangleri, the Wanderer, as well as Sanngetall, the Truth-Guesser, or Bileygr, the One with the Missing Eye. I am Har, the Supreme, and also Fjolnir, the Wise; I am Sidhottr, the Hooded, as well as Hárbarðr, the Greybeard. I am Alfodr, the Father of All, and you, Geirrodr, have Odin’s illusion This galdrastafur has a complicated name derived from the Icelandic word missýning, which means to see one thing as another, as though through an illusion. There are two symbols bearing this title in the Galdrastafir: the first is simpler and is as follows, with an accompanying inscription that identifies it as the stafur of the illusion of Odin, who in Norse mythology proves to be a master of this art, presenting himself in many forms only to suddenly reveal himself as the father of the gods. Thanks to this galdrastafur, the spellcaster could deceive their enemies by appearing in a different guise. This is exactly what Odin does when he travels the world in the form of a pilgrim in a dark cloak. There are many references to this habit of his, one of which is contained in the Völsunga Saga. During the wedding of King Siggeir and the beautiful Signy, daughter of Völsung, a mysterious man appears at the banquet. The story goes that large fires were lit in the hall, around the big tree, and people say that, while the guests were sitting around the fires, a mysterious man, unrecognized by everyone present, made an entrance. Covered by a cloak, he had bare feet, wore a hat with the tip bent to 146 Norse Grimoire

the forehead) Range: Self Duration: Concentration, up to 12 hours When the spellcaster draws this glyph, they can deceive their enemies by appearing in a different guise, just as Odin does when he travels the world disguised as a humble pilgrim. The spellcaster assumes a new appearance for the duration of the spell or until they use their action to end it. The illusory appearance includes every object on their person. They can change their height by 12 inches, change their physique, visible age and physical features. They cannot change their body type, so they must choose a form that uses the same basic arrangement of limbs. Within these limits, the nature of the illusion depends on the caster. When the glyph is active, the spellcaster has advantage on Deception and Persuasion checks to prove their illusory identity or checks related to their role in the social context. If someone wants to reveal the caster’s true appearance they have disadvantage on all skill checks to unmask them. Temporary tattoo effect The character can cast the Missinningarstafur spell once. Permanent tattoo effect or talismanic glyph Missinningarstafur is added to the list of spells known by the character. been a fool to treat me as a lowly prisoner. Now you have lost my favor and must die, for I am Odin, once known as Yggr, the Terrible, and Thundr, the Tempestuous. Often the god of wisdom, war and magic visits someone in disguise to ask them mysterious riddles or to obtain what he wants using some cunning stratagem, and this is precisely the purpose of Missinningarstafur. It should be noted that the appearance of this symbol, with all those tightly packed, almost spiral-like circular lines, may resemble images that produce the same optical illusions, drawings that are seemingly about to move. It is therefore no surprise that this symbol represents the deception of Odin, the master of riddles and illusions. Different illusions are performed by the giant Skrýmir, also known as Útgarða-Loki, who, after changing his own appearance, subjects Thor, Loki, Þjálfi and Röskva to various trials in the castle of Útgarðr in Jotunheim. Loki competes to quickly devour food with an opponent who is actually fire incarnate. Þjálfi loses a race to another individual who turns out to be the giant’s own thoughts. Röskva, on the other hand, ends up playing chess against an opponent who turns out to be sleep itself. Similarly, Thor is tricked into finishing the contents of a horn that is in fact connected to the ocean. Once again, the magic possessed by the giants evokes more bombastic effects typical of creatures that are distinctly inhuman and impossible to impart to mortal beings. Missinningarstafur 3rd-level galdrastafir Casting time: 1 action Components: V, S (a glyph drawn on the center of 147 Galdrastafir

Mót Stefnivargi Mót Stefnivargi were not necessarily considered untamable, as evidenced by Odin’s wolves Geri and Freki. We must consider that the presence of wolves, simply as animals, meant less food for families and they could also be seen as dangerous and capable of attacking humans. The term warg mainly refers to the legendary wolves Fenrir, Sköll and Hati, born in Járnviðr, the “iron wood”. In the Saga of Hervör, King Heirek is asked a question by Odin, disguised as Gestumblindi: What is that lamp that shines on men, but the flames engulf it, and the wargs are always trying to seize it. Heidrek of course replies that it is the Sun since Sköll and Hati, also known as wargs, are the wolves that chase, respectively, the Sun and the Moon. Legends also contain references to wolves being ridden. For example, in the Norse poem Hyndluljóð, the goddess Freyja meets the volva Hyndla and they ride together towards Valhalla. Freyja rides her boar Hildisvíni, while Hyndla rides a wolf. Similarly, the Against wolves and wild animals These bandrunir, or bind runes, represent names such as Freyr or Fjölnir, Nordic deities or their titles. They were used in a spell to drive away wolves, foxes, rats and any other creature that could endanger the inhabitants of a house. They can be found in numerous galdraboekur. In this case they come from the Galdrastafir, but it is Skuggi who explains how they are used to keep wild animals at bay. Writing them on fox skin and walking clockwise and then counter-clockwise around the farm, invoking the help of Freyr and the other divine beings, was a way of keeping at bay all the animals that threatened the safety of the first settlers of Iceland and their loved ones. Wolves, in particular, feature in many stories that have accompanied human beings and their survival since ancient times. These stories, according to wise men, may be the reason why some feel such a deep connection with this wild creature. We are inexorably fascinated by the wolf that appears in our beliefs and mythology and is part of the ancient religions of all peoples. For the Norse, however, wolves were seen in a negative light, although they 148 Norse Grimoire

found in the bird of prey’s nest, “So be it, accompany me to this distant island!” We can therefore imagine that if men barricaded in fortified castles were not safe from beasts, the Norse valued additional magical protection against them. Mót Stefnivargi 4th-level galdrastafir Casting time: 1 minute Components: V, S, M (a glyph drawn on tanned leather) Range: 985-foot-radius sphere Duration: 8 hours When the caster draws these bind runes on tanned leather or fur they must circle the land around a dwelling first clockwise and then counter-clockwise. The air crackles for a moment and the shadows in the area become less deep. This spell keeps all animals at bay that threaten the safety of those inside the sphere. A transparent dome with a maximum radius of 985 feet materializes around and above the caster, remaining there for the duration of the spell. Creatures and objects inside the dome at the time the spell is cast can freely pass through it. Any other creature about to enter the area protected by the glyph must make a Charisma saving throw or be repelled by the dome for the duration of the spell. Creatures with an Intelligence of 4 or lower automatically fail their saving throw. Temporary tattoo effect The character can cast the Mót Stefnivargi spell once. Permanent tattoo effect or talismanic glyph Mót Stefnivargi is added to the list of spells known by the character. giantess Hyrrokkin arrives at Baldr’s funeral on a giant wolf using intertwined snakes as reins. The figure of the wolf returns repeatedly, from the most rustic tales to the great founding myths such as that of Fenrir, the wolf born of the union between Loki and the giantess Angrboða, destined in Ragnarok to free himself from his captivity and devour the Allfather, Odin himself. There is a very interesting story in the Saga of ÖrvarOdd that contains a reference to other wild beasts, which were seldom represented as opponents to the great heroes, who generally had to face supernatural enemies. In this gory chapter of the story Oddr is kidnapped by a vulture and fed together with its young. When the giant Hildir arrives, Oddr helps him kill the vulture by setting fire to the nest to make the nestlings cry out and call their parent back. The giant then disposes of the bird of prey that had been stealing his meat. Hildir then takes Oddr with him as a gift for his daughter and some time later confides in Oddr about something that is troubling him: “Soon I will have to take part in a contest between the giants to decide who will become the new king. To choose the most worthy, there will be a dogfight and then we will see who has brought the best trophies. I can’t even hope to win: Ulf has a wolf that is so fierce that it has even managed to kill the animal known in the East as a tiger and he always carries its head with him to boast about it. What’s more, Ylfing has a bloodthirsty polar bear, which is even said to have devoured a unicorn! I don’t even have an animal to compete with them, so I’ll never have the honor of being king!” he said, hiding his huge face in his hands. Oddr remembered a legend that he had heard in the north: “There is a bear on the island of Varg, near the Pole, which hibernates during the winter, but when it wakes up it is so fierce that not even men barricaded in castles are safe! You would certainly beat any other animal with that!” Hildir smoothed his long beard and then decided to pay heed to the small, but cunning creature 149 Galdrastafir

Myrkurstafur Myrkurstafur undead utters the following words to the man confronting him: An outlaw shalt thou be made, and ever shall it be thy lot to dwell alone abroad; therefore this weird I lay on thee, ever in those days to see these eyes with thine eyes, and thou wilt find it hard to be alone and that shall drag thee unto death. The draugr’s curse comes true: Grettir’s ship is wrecked and the crew is left with their teeth chattering in the cold and darkness, sheltering as best they can among the rocks. There is a glimmer of light in the distance and it is decided that Grettir, the bravest of the group, should be sent to see if it is a warm fireplace and, if so, to take a spark to warm himself and illuminate the night. Grettir’s journey does not end well: drenched and completely covered in frost, he is mistaken by the men in the cottage for a monster and they attack him. Attempting to defend himself, Grettir knocks over the braziers and the whole building burns down. The people inside perish and, because of this act, Grettir is Against fear of the dark When night fell in the ancient world, which can be very long and cold in Iceland, people had to gather around a fire. However, fires could not illuminate everything, and while the inside of a house might have seemed warm and welcoming, the outside world, shrouded in darkness, with its wild noises and who knows what shadowy creatures, must have been frightening. This galdrastafur is contained in the pages of the manuscript known as Kreddur, which means faith or belief, but also superstition. Perhaps it was only through a kind of inner faith in some luminous power capable of providing protection that ancient peoples could face the dark without fear. These symbols are found in the collection by Ólafur Daviðsson, who explains that they should be carved on oak wood and worn under the left arm in order to pass through darkness without fear. The Saga of Grettir places particular emphasis on fear of the dark. Its protagonist, who has become a famous ghost hunter thanks to numerous encounters and clashes with supernatural beings, finds himself faced with a particularly powerful draugr. The 150 Norse Grimoire