Digital Record Of Asenath Waite

Portrait by nightmaredaisy. Header is the dorm at Miskatonic. Norse Pagan/Solitary NB witch. occasional tagged text rp.

[fangorn-forest]

masculine energy this feminine energy that. well i’m out of energy

[batbetbitbotbut]

need me some of this "renewable energy" I keep hearing about

[lokeansuz]

Small Devotional Acts to Odin

Learn the runes.

Walk in someone else’s shoes.

Create.

Go bird watching- keep an eye out for corvids.

Read about something that interests you.

Make a devotional playlist for Him.

Sacrifice something for the benefit of others.

Travel with no true destination.

Share a nice mead with Him.

Stand up for your beliefs.

Listen to others’ counsel.

Study for your classes.

Leave collected objects at His altar.

Do something noble- big or small.

Sit in or under a tree and let your mind wander.

Write meaningful poetry.

Let go of yourself for a while.

Disregard others’ judgement and social constructs.

Use musky scents in an oil diffuser.

Work on your divining skills.

Donate to a wolf conservation or veteran’s organization.

Flirt with others for the fun of it.

Practice using a weapon.

Offer Him a savory food.

Forgive yourself.

Talk to those you normally wouldn’t.

Draw inspiration from that which surrounds you.

Know when to fight, but in turn, to back down.

Keep an open mind and an open heart.

[angelllsvoid]

Thank you, Allfather, for being with us <3 I really hope to grow closer with him as time continues.

[skaldish]

Just Dropped

Hávamál

The Hávamál, or Sayings of the High One, as translated by Edward Pettit. Browse this fully-annotated version generously made Public Domain.

I've prepared a fully-annotated copy of the Hávamál from Edward Pettit's 2023 public domain translation of the Poetic Edda for your enrichment and convenience.

[broomsick]

Short guide to varðlokkr

Briefly exploring ritual singing and spirit work in the nordic tradition, and their possible uses in neo-pagan practice.

Before performing divination, it's said that völur would sing, or more often than not, have someone sing a ritual song in order to "rouse the spirits". This ritual was a way to call upon nearby spirits—generally guardian spirits, to come and answer their questions. The practice of varðlokkur, or "ward songs/protection songs", is tightly interwoven with the art of seiðr. According to the few sources that mention the topic, it was performed by seeresses seeking to prophecize, or by women willing to sing it in their stead.

Before diving deeper into this topic however, it's important to note that the interpretation of the term varðlokkr, and in a sense, the very basis of its current scholarly understanding, depends on its possible etymology. Two hypotheses stand out in this regard: varðlokkr is either spelled with one or two k's, either varðlok or varðlokk. The former would refer to "locking", or "fastening", and is often associated with a passage in the Grógaldr (The Spell of Gróa) where the shamaness refers to Urðar lokur, or Urð's locks/bolts. In this case, the song is a matter of "locking" the spirits in. Whereas varðlokkr would stem from the same root (vǫrðr, meaning to guard or ward), but in this case, lokkr would come from lokka, meaning to lure, or entice. It's generally agreed upon that both these instances showcase how the idea of protection was a key element in the perception of this practice.

These so-called "Weird-songs" sometimes required the use of a rhythmical sound created using drum beating, rattles, or by hitting the ground with a staff. They served as an invocation to higher powers or local spirits, who would be keen to protect ("ward") the seeress as she glimpsed into the future. According to pre-Christian belief, the sound of these songs had the power to appease surrounding spirits, but also to entice and lock them into the space for the duration of the divination. Letting her spirit wander out of her body in order to scry, the völva/seiðrkona became vulnerable, hence the need for higher protection. Now "bound" to her until the completion of the ritual, the guardian spirits would be inclined to lend their help. Depending on the intepretations, this type of ritual singing could also have been a means to reach a trancelike state before fortune telling.

'Many spirits,' said she, 'have been present under its charm, and were pleased to listen to the song, who before would turn away from us, and grant us no such homage. And now are many things clear to me which before were hidden both from me and others.' Eiríks saga rauða, chapter 3

The trance aspect of this practice is often debated, however. Granted, it's possible to point out similarities between seiðr and the "out of body" travel of Sámi and Siberian shamans. After all, a few sources tell us that varðlokkr would also serve to bring the völva back into her own body once she'd prophecized. Still, scholars more often than not consider varðlokkr and other seiðr practices as putting oneself in a "receptive state" in order to comprehend messages sent from the spirit world.

At the beginning of the séance all those present seem to have taken part in the singing, but a special choir was appointed for continuing operations:  this is in several accounts said to consist of women or one woman. Singing continues throughout the séance, the purpose being to remind the shaman of his mission.  Some sources indicate that the singing was concentrated or confined to the final stages of the trance, and the aim here was to wake the shaman. Louise Bäckman & Åke Hultkrantz

Think of varðlokkr as a way to blend music, divination and spirit work. A modern practitioner who already works with Dísir, vættir, ancestors, and the like can involve these familiar spirits in the ritual, for example, by calling upon a passed loved one to protect them during divination, or even to aid in finding answers. It's generally agreed upon that during the Scandinavian pre-Christian times, the wisdom of the dead occupied a vital place in many such shamanic practices. One could seek advice from passed mentors or loved ones in this manner. Even disregarding the idea of "rousing" spirits and "locking" them, I believe that one could still use to music as ritualized invocation—especially when it comes to ancestor work, in order to ask for advice or insight.

Next to nothing is known about what varðlokkr actually sounded like. However, I think it's still interesting to explore the idea of ritual singing as a shamanic practice. For someone interested in experimenting with galdr, seiðr, or any such shamanic practices in the Nordic tradition, varðlokkr seems like a great place to start.

So how does one incorporate ritual singing into neo-pagan practice? I'm sorry to say that it's exceedingly difficult to somehow reconstruct varðlokkr, as history has left us with nothing but bits and pieces to work with. However, three main particularities stand out and aid us in tracing a general outline: 1. the Weird-song is sung before divination as an opening practice; 2. its purpose is to call upon spirits; and 3. it most likely served as a sort of short-term ward for the person performing the ritual. These three concepts may be preserved, and the freedom to build around them is yours.

For this reason, we even have the option to simply pick a song which feels sacred and play it before rune casting, or tarot reading for example (needless to say such a practice also applies to any and all methods of divination, including scrying). After all, there's really no indication that the practitionner must sing the song themselves. Even in the few accounts mentioning varðlokkr, the seeress isn't always the one singing.

But if you decide to sing the varðlokkr yourself, it's also possible to learn the lyrics to a song that's already part of your practice. If working with the spirits of the dead, and especially with passed loved ones, why not play a song that a given ancestor loved in life? Artist Einar Selvik has composed a short skaldic-type song called Vardlokk, which has understandably become my own ritual song. I play it to get into a spiritual state of mind, helping me tremendously before spirit work—which coincides in many ways with the original purpose of varðlokkr. But it's safe to say any type of music may be used. And if you're interested in trance or trance adjacent practices, chanting may be used in such a manner as well.

There are many ways for us neo-pagans to adopt the practice of varðlokkr, since in one way or another, music is always tightly intertwined with religious practice. One can choose to wholly disregard the spirit work aspect and simply explore the idea of ritual song and its ties to divination. No matter the case, shamanic practices were an inherent part of Nordic religious tradition, and I think it can be useful for modern practitioners to learn about them and explore the possibilities that they offer.

If you're interested in further reading, I've linked at the beginning of this post an ask I answered a while back pertaining to seiðr, galdr, and other shamanic practices of the Norse. Within the post are also a few suggested pieces of reading that have helped my personal understanding and research.

[electric-yggdrasil]

Reblog if you’re an active anti-fascist pagan blog in 2026!!!

I’m looking for moots :-) (I follow from my main)

[brigitte-poetry]

Prayer to Odin (inspired by the Orphic Hymns)

While reading through some of the Hellenic Orphic Hymns lately, I got really curious about what it would be like to try and emulate their style while writing prayers for other deities, so this is the result of that experiment! The wording is a bit complex, but I really like how this turned out and Odin definitely seemed to enjoy it, so I figured that I'd share it here just in case anyone else would like to use it! Feel free, but if you're sharing it elsewhere I'd appreciate it if you credited me properly, please!

Please note that his prayer is also very long, even by my standards, because I honestly got a little too into it and got carried away. Also, bigots fuck right off, Odin is called the All-Father for a reason, and your cowardly prejudice is an affront to his good name! Nazis, TERFs and other bigots have no place on this blog or in the pagan community as a whole!

It is to Odin, Wotan, the Father of Men and Lord of the Aesir, to which I dedicate this hymn.

One-eyed Wotan, seated upon the high throne of Asgard,

Surveying the realms through the eyes of your faithful ravens, Huginn and Muninn,

It is you, O wily god with the vast mind, your wisdom spanning ages both forwards in time and back, to whom I offer up my praise.

You, Odin, know the true meaning of sacrifice,

That gifts must be given to receive blessings in return,

Having hung yourself by the throat from the world tree Yggdrasil,

Swaying in its branches for nine days and nights,

Your side pierced by a sharpened spear, anguish in all your limbs,

All so that you may learn the secrets of the runes.

Through this sacrifice you have become their god,

The keeper of runic knowledge,

And it is you who travels the land in search of new learnings,

Who takes up disciples who embody your lust for enlightenment,

Who uses what you have learned to govern your people, both mortal and divine,

And for this the supplicants cry out to you,

Kings and shamans and warriors alike exalt you, O Odin the way-tamer.

You go to great lengths for greater comprehension,

Hanging yourself upon the sacred ash tree for your skill with runes,

Dropping your right eye into the waters of Mimir for a single sip of wisdom,

Stealing the mead of poetry to learn its arcane sciences,

Even braving the perils of heaven and earth, snow and wind,

Traveling across vast landscapes with your mighty spear gungnir in search

Of the almighty knowing that may help you guide your kingdom well.

For these feats, O Odin, for your great skill and immeasurable insight,

Your followers, those who have been called to your name,

To sit by your side and drink in your stories, taking your many lessons to heart,

We cry out to you in frenzied mania, overcome by esoteric truths,

And we patiently await the day when we may join you in your great hall Valhalla,

Where we may drink and feast and fight anew,

Until the time comes for us to join you in the end,

In the great and terrible war that shall spark the rebirth of the world itself.

[notthesomefather]

Beautifully written x0x

[magpiesmagicnestarchive]

What is a Fylgja?

In Norse belief, a fylgja (Old Norse: fylgja, “to accompany”) is a spirit that follows a person throughout their life. It can appear in dreams, visions, or moments of heightened awareness.

The fylgja is often seen as:

An animal form reflecting your nature (wolf, bear, fox, deer, etc).

A feminine spirit tied to luck, fate, or ancestral power.

A being that embodies both your hamingja (personal fortune) and your inner self.

A fylgja is not just a “spirit guide” in modern terms - it is deeply linked to your soul and destiny. To see your fylgja was considered a powerful omen.

How to Connect with Your Fylgja

There’s no one fixed method, but these practices are common:

Dreamwork: Keep a journal; many people first meet their fylgja in dreams.

Meditation / Journeying: Visualize yourself entering a liminal space (a forest, crossroads, cave). Invite the spirit that follows you to show itself.

Offerings & Respect: Treat your fylgja as you would an honoured guest - through offerings of food, incense, or time spent in nature.

Patterns in Life: Notice recurring animals, symbols, or encounters that feel significant - these may be your fylgja trying to make itself known.

A note of caution: traditional sources also mention that seeing your fylgja outside of dreams (in waking life) could foreshadow death. In modern practice, many people approach this with a more symbolic interpretation - as a sign of deep transformation or change.

Sources & Further Reading

The Saga of Erik the Red (mentions fylgjur in dream visions).

Eyrbyggja Saga and Laxdæla Saga (contain accounts of fylgjur).

Turville-Petre, Myth and Religion of the North.

Jenny Blain, Nine Worlds of Seid-Magic (modern Heathen perspective).

Blessed be, Wren 🌙

[theomenroom]

when applied to drinks, "dry" means "without sugar". therefore it follows that sugary drinks can be called "wet". the meanings of the terms "hot" and "cold" when applied to drinks are obvious. thus the aspect of any drink can be determined.

for instance, green tea, freshly steeped and served without additives, is hot and dry, and therefore has an aspect of fire.

a mocha, on the other hand, while hot, is sweet, and therefore wet, and thus has an an aspect of air.

lemonade, which is wet and cold, has a water aspect.

finally, the drink which most epitomizes the earth aspect, being both cold and dry, is vodka

[the-otherspace]

New alchemy-based witchcraft just dropped.

[stsathyre]

I’ve never seen this name— granted, I’m not actively hunting books either. But heads up.

The casting the wide net, should be the first clue you’re on the road to some bull shit.

[thevirginwitch]

While we're at it:

Nikora Raynelle is another one I've stumbled on recently.

[sehetep-shenwer]

Cannot stress tf out of the importance of discernment. Be careful of spaces or people that tend to feed and enable delusions rather than teaching how to be mindful and how to discern the mundane from the magical.

[breelandwalker]

The Wall of Thorns - A Spell of Protection

Then round that place there grew a hedge of thorns thicker every year, until at last the whole castle was hidden from view, and nothing of it could be seen but the vane on the roof. […] From time to time many Kings’ sons came and tried to force their way through the hedge; but it was impossible for them to do so, for the thorns held fast together like strong hands, and the young men were caught by them, and not being able to get free, there died a lamentable death.

- The Sleeping Beauty

Intent: To protect one’s home and property.

Ideal Timing: Full Moon, but can be made anytime.

Materials:

Glass Jar with Lid

Black Taper Candle

Planter Pot & Soil

Super Glue

Pins & Thorns

Duct Tape

Herbs: Dill, Basil, Salt, Vinegar, Lemon or Pickle Juice

Load the bottle with the pins, herbs, and just enough of your chosen liquid to fill it about ¾ full. It should be noted that some witches prefer to use urine for their home protection bottles, both for traditional and territorial reasons. This is certainly a viable choice if you are comfortable with it, but if not, then the options listed above will be quite effective.

Seal the top and secure with a strip of duct tape or electrical tape to prevent leaks. Once it is sealed well, begin to attach the flat ends of the thorns to the outside of the bottle using the superglue so that the points face outward. Be very careful not to stick yourself while handling the bottle!

Once all the thorns are in place, light the black candle and drip the wax over the top of the bottle. As the wax falls, hold the image of a thorny protective barrier in your mind and continue to turn the bottle, letting the wax spill down the sides to help hold the thorns in place. Keep dripping the wax until the cap is completely covered and all the thorns have been secured.

Pour some dirt into the planter pot, place the bottle inside, and pour in more dirt until the bottle is covered. Keep the pot somewhere on your property. You can even grow flowers in it, if you like, but it is not recommended that you use it for anything edible.

If you move to a new home, be sure to take the pot with you, or dig up the bottle and take it along; to remove the ward, break the wax seal and empty the contents of the bottle somewhere safe.

-From The Sisters Grimmoire: Spells & Charms For Your Happily Ever After, 2nd ed., © 2017 by Bree NicGarran.

Want more fairy tale spells? Check out the masterpost here and visit my shop for spell kits!

(If you’re enjoying my content, please feel free to drop a little something in the tip jar, tune in to my monthly show Hex Positive on your favorite podcast app, or check out my published works on Amazon or in the Willow Wings Witch Shop. 😊)

[sometiktoksarevalid]

[salixsociety]

but energy work is part of many folk traditions. Tbh manifestation is too. They’re just not called those words.

It is! In fact! Not! To take those very varied cultural concepts and lump them together under energy or manifestation is to water them down and try to make them fit a homogenous narrative that goes directly against my ethics. We should take great care to learn about the actual cosmological systems of the faiths we choose to engage ourselves with, because they will always form a more complete picture than attempting to make them fit the energy work / manifestation narrative - especially given both of those things entered the European spiritual zeitgeist through third wave Western Esotericism appropriating concepts from eastern traditions.

I would and will forever be offended if someone calls megin 'energy', and I am deeply opposed to the way these intentionally ambiguous and pseudoscientific words are taking root in cultural spiritualities to such an extent that people mistakenly believe they were there the whole time. Homogenization is a direct contributor to white supremacy. We should all take pride in our diversity rather than try to find false unity under words that came about in the 18th and 19th century from appropriators like Blavatsky

[boop428-deactivated20260202]

“I grew and waxed in wisdom;

word following word, I found more words,

deed following deed, I wrought deeds.”

- Hávamál

[dvoeverie-stitches]

svátku Mláďátek

In Czechia Holy Innocents Day (December 28) is considered the unluckiest day of the year.

When it rained on this day it was said that there would be a lot of childhood disease in the new year (especially measles).

—————

Foggy or rainy weather in the morning foretold death for children, noon for the young and unmarried, afternoon for adults and evening for the elderly.

If the weather is nice there will be a good potato crop in the new year.

—————

In southwestern Bohemia, and especially in regions previously inhabited by Germans, such as the Cheb, Plán and Karlovy Vary regions, the custom of ceremonial beating with a green rod on New Year's Day dates back to the 19th century.

It differs in its term from the Easter pomlázka, but its purpose is the same: it was whipped for health. Willow twigs were cut on St. Barbara's Day, left in a warm place to sprout, and tied with a red ribbon. Men whipped women with a willow twig and children their parents. The person being paid had to buy himself off with money or sweet brandy. Children and youth parades with green willow, birch, hazel, spruce and juniper twigs are widespread under various names in Austria, southern Germany, Hungary, Italy...

In Slovakia, there was a widespread custom called “mládenky” or Mládenkovánie,similar to Easter whipping: parents would whip their children in bed in the morning, supposedly to remind them of Herod’s cruelty. Then the custom of whipping men with a rod was observed by women and vice versa. Similar to Easter, on December 28th, men would whip women with rods as a joke, and in return, on December 29th, women would whip men with rods. The main role in this is played by the blow with a green rod, but it is not for punishment, but for mutual beneficial contact and fertility.

——————

In the vicinity of Nepomuk, children would go around the buildings, greet each other and ask: "How many Holy Innocents were there?" Either the housewife herself or one of her children would answer. For this parade, the children would receive bread or pastries. For example, in Ivančice, housewives would bake a bun in the shape of a child for the children, called a "cub". In some places, carolers would skewer pastries on a white-painted stick shaped like a sword.

In the Šumava region of Stach and its surroundings, on December 28, people would “go after the young ones.” Housewives would bake pastries the size of a muffin with a hole in the middle. They would then hand them out to children who would come in groups and say: “Dear lady, give us a young one so that God may bless you. If you don’t give us a young one, God will not give you a child!”

In some areas, parents would ask questions about the story of the murdered innocents in Bethlehem and its surroundings, and they would especially be interested in how many there were (according to legend, there were 4,444 boys, but the correct answer was “seven thousand seven hundred and seven”). When the children answered correctly, they would receive a small gift, such as a pastry.

————

No laundry washing:

The most prominent tradition is not washing clothes on this day, as it was believed that doing so would result in tiredness for the family and livestock throughout the following year, as if the laundry was being washed in the blood of the murdered infants.

Restrictions on sewing:

Similarly, sewing was also avoided to prevent potential harm to children's eyes.

Focus on child protection:

The overall theme of the day is to be mindful of children and protect their innocence, aligning with the story of the "Holy Innocents" from the Bible.

[slewfootwitch]

𝔞𝔠𝔞𝔡𝔢𝔪𝔦𝔠 𝔴𝔦𝔱𝔠𝔥𝔶 𝔱𝔢𝔵𝔱𝔰 𝔦 𝔲𝔰𝔢 (𝔦𝔫𝔰𝔱𝔢𝔞𝔡 𝔬𝔣 𝔪𝔞𝔰𝔰 𝔪𝔞𝔯𝔨𝔢𝔱 𝔱𝔯𝔞𝔡𝔢 𝔟𝔬𝔬𝔨𝔰)

[Alt Text for Screen Readers: "Academic Witchy Texts I Use (Instead of Mass Market Trade Books)"]

These are certainly not the only academic texts available for those looking to advance past mass-market trade books. This list is just a few of the books that I own and that I have found useful for my own practice. Some of these are specific to my own ancestral practice; some are more generally European.

Witchcraft in Europe , 400-1700: A Documentary History (Kors & Peters)

Witchcraft & Magic in the Nordic Middle Ages (Mitchell)

The Witchcraft Reader (Oldridge)

The Witch-Hunt in Early Modern Europe (Levack)

Witch Craze: Terror & Fantasy in Baroque Germany (Roper)

Wicked Arts: Witchcraft & Magic Trials in Southern Sweden, 1635-1754 (Per Sorlin)

The Witch: A History of Fear, from Ancient Times to the Present (Hutton)

The Penguin Book of Witches (Howe)

Witchcraft in Russie & Ukraine, 1000-1900: A Sourcebook (Kivelson & Worobec)

The Witchcraft Sourcebook (Levack)

European Magic & Witchcraft: A Reader (Rampton)

Witchcraft Confessions &Accusations (Douglas)

Witchcraft & Sorcery (Marwick)

Witchcraft in Early Modern Europe: Studies in Culture & Belief (Berry & Hester)

Witches & Neighbors: The Social & Cultural Context of European Witchcraft (Briggs)

The Voices of Women in Witchcraft Trials: Northern Europe (Willumsen)

Premodern Beliefs & Witch Trials in a Swedish Province, 1669-1672 (Malmstedt)

Cunning-Folk & Familiar Spirits: Shamanistic Visionary Traditions in Early Modern British Witchcraft and Magic (Wilby)

Cunning Folk: Life in the Era of Practical Magic (Stanmore)

Tidebast Och Vändelrot: Magical Representations in the Swedish Black Art Tradition (Johnson)

[boop428-deactivated20260202]

“In folklore, the Wild Hunt is an entourage of supernatural beings heard at night, mainly during late autumn and winter and especially around Christmas and New Year. The motif is spread all over Europe with different names of the leaders of the hunt, often a god, goddess or some mythological figure – sometimes an ancient legendary king – accompanied by the souls of the dead. In the Germanic variant it is often Odin (Woden, Wotan) who leads the hunt, accompanied by fearsome ghostly dogs. Not infrequently, dead warriors appear as part of the hunting entourage, sometimes whole armies, and the leader of the hunt often appears as a warrior on horseback.”

- Anders Kaliff & Terje Oestigaard, Werewolves, Warriors and Winter Sacrifices (Unmasking Kivik and Indo-European Cosmology in Bronze Age Scandinavia)