Given the strong presence of venom in the Draconian myths of the North, it will pay us to take a closer look at it and why it is so important. It is a startling fact that Venom is counted as one of the Elements – the basic building blocks of reality – in the Northern cosmological model. We shall devote the next section to a study of the implications of this in relation to our world view and this initiatory curriculum.
Ginnungagap I:
The Creation Myth as a Model of Magic
Most students of the occult are familiar with the Hellenistic model of the four classical Elements, namely Fire, Water, Air and Earth (with Spirit as a fifth, from which the four other Elemental principles are ultimately derived). In most curricula of ritual magical practice, these Elements are appointed to the four cardinal points of the compass: Earth to the North; Air to the East; Fire to the South and Water to the West. The magician is thus provided with a workable model for invoking / balancing Elemental forces and affinities, a process upon which almost all practical magic is based.
The Northern European model is a little different to this. The tradition is recognisably derived from the same ultimate European cultural roots and is not incompatible with the Greek ideas. But it finds a different emphasis in its expression and spawns an interesting set of secondary Elements. In Northern Elemental lore, we begin with a Void. There then arise two primary Elements, whose interactions produce a further two Elements. This provides the fourfold basis upon which manifestation may occur. The four Elements then interact with each other to produce a further set of four secondary Elements, representing their operations in the world. Finally, all are gathered in the Element of Earth as reality Is.
According to the Norse account of creation given in Snorri Sturluson's Prose Edda, before the manifest Universe existed there was a Void, called Ginnungagap, which translates as something akin to 'magically charged space'. Those who have read Apophis will recognise this as the Void described therein. It is a a kind of anti-place, where nothing exists in manifest form yet where everything possible exists in potential. Note that I stress 'everything possible'. This potentiality includes not only everything that will ever exist, but also everything that will never exist. The Void is a Neverwhere / Neverwhen outside of time and space, which contains the seeds of Everywhere and Everywhen within itself.
How does something Come Into Being from Nothing? Because Ginnungagap is not nothing as we understand it. It must be Understood as a Nothing which is not itself manifest, but which contains the matrix for the possible manifestation of everything. If all manifestation occurs as equal and opposing forces, then the overall balance of Zero is maintained. This is Crowley's equation of 0 = 1 + (-1).
So the Void spawned two equal but opposite forces which formed at opposite ends of it. These forces are the two primary Elements of Northern lore, Fire and Ice, symbolically placed in the South and North respectively and embodied in the worlds of Muspellsheim and Niflheim. Fire is the expansive force of heat and brightness and Ice is the contracting force of cold and concentration.
The expanding heat from Muspellsheim radiated outwards until it finally met and mingled with the frozen stream issuing from Niflheim. The touching of the two opposing forces had explosive results, resulting in a burst of energy and interaction that spawned the building blocks of the whole manifest Universe. This creation myth is recounted in detail by Snorri's Prose Edda and its symbolism is discussed in some detail in the books of Edred Thorsson.
The initial mingling of the energies of Fire and Ice produced a further two primary Elements, establishing the four quarters of manifestation. These two Elements were Air and Water, stationed to the East and West respectively.
This creates a model quite similar to that of the four classical Elements which is still used by most modern occult models. A comparison is below.
Direction
Classical Element
Northern Element
North
Earth
Ice
East
Air
Air
South
Fire
Fire
West
Water
Water
The only difference between the two models at this stage is that the Element representing solidity and density in the North is Ice instead of Earth in the Northern conception. This striking similarity indicates the shared origin of European thought prior to later diversification.
The Southern tradition chose to expand upon the basic fourfold model by subdividing each major Element into a set of Sub-Elements. So Water, for instance, would be subdivided into Fire of Water, Water of Water, Air of Water and Earth of Water and the others would be similarly divided. In this way, they sought to express the more complex interplay between the Elements.
In the North, they approached the question of complexity and Elemental interplay in a different way, one which restated the ninefold theme so prevalent in Northern mythic patterns. They looked at the arrangement of the Elements at the four quarters of manifestation, then observed the angles where each Element met with its neighbours. At these borderlands where the primary Elements met and mingled, they brought into being four more secondary Elements, which combined the natures of each of their parents and expressed them in new ways.
In the North-East, between Ice and Air, is the Element of Salt; in the South-East, between Air and Fire, is the Element of Iron; in the South-West, between Fire and Water, is the Element of Venom; in the North-West, between Water and Ice, is the Element of Yeast.
Just as the primary Elements are established on a fourfold matrix formed by two pairs of opposite forces (Fire vs Ice; Air vs Water), so the secondary Elements establish themselves according to the same pattern, but from the angles between the compass points rather than the compass points themselves. Thus, Iron (principle of hard, inert matter) is opposed to Yeast (principle of organic change), and Salt (the basis and sustenance of life) is opposed to Venom (the dissolution of organic and inorganic compounds).
All eight of these Elements are finally summed up and synthesised in a single Element which is the manifestation of all their qualities in a dynamic, ever-evolving whole. This Element is Earth. Unlike the Earth Element of the classical model, this Northern Earth Element represents the entirety of manifest reality in Midgard.
Thus, we have a ninefold model of Elements to go with our ninefold world structure.
The four secondary Elements display a level of sophistication and differentiation lacking in most other such systems and the final synthesis of the Elements in Earth reinforces the Northern view that Midgard – the world of manifestation – is the purpose and destiny of creation, the culmination of all, not a confining prison to be escaped from.
Now that we have established the position of Venom as one of the root Elements, we may consider anew its importance to the Draconian Initiate. All of the Dragons of the North are venomous in the extreme and we have established that the Initiate who conquers the Dragon and partakes of its blood (i.e. synthesises it within his own Self) will gain the powers of the Dragon. However, the Initiate who seeks to overcome the Dragon by suppressing and denying it (i.e. by putting it down and not partaking of its bloodline) is overcome by its Venom, which still seethes within his subconscious, beyond his reach.
Venom, the Element of dissolution, is the tool whereby the Initiate loosens and unties the knots of reality – and of his own Self – so that they can be reshaped. Things that were bound fast dissolve and come to pieces through the application of Venom. This is true and instantly observable in the world around us; it is equally true in the world of magic. This process is figured in the Valknutr, the Knot of the Slain, which we will be considering closely in the next chapter.
Before leaving this model of the Norse creation myth, we should briefly consider its ramifications as a model for the practice of magic. After all, every magical act is a creative act and every act of creation follows this same pattern. (We are here considering on
ly the Elements of creation, not the figures and characters in the mythology, though there are many essential lessons to be learned there too by those who wish to study further.)
Every magical act begins with a Void, into which the magician invokes the Elements which constitute the situation. The primary Elements of any magical Working are the magician himself and those factors he wishes to change. These are all brought into balance within the Working environment. The secondary Elements are those tools (such as runestaves, rune-songs, bind-runes, etc.) which introduce the desired change into the situation that has been established. Some of these tools will enliven and strengthen positive aspects (a Yeast function); others will dissemble or rearrange negative aspects (a Venom function.) Finally, all will be synthesised into a new Earth at the conclusion of the Working.
This model may not be clear to you yet with regard to your own Workings, but keep it in mind and it will in time become so. It should remind you that every act of magical creation is an echo of that original Coming Into being. This process will be discussed at much greater length in the next chapter.
The Wode-Self Stirs
The Initiate who has got this far without skimping on the exercises and who has taken time to study the mythology and lore, will begin to notice a few peculiar changes in himself at about this time.
As well as his ordinary, everyday personality, he will begin to detect a new focus within his consciousness, almost an 'other self' which takes the reins at times of peak experience, and most particularly when engaged in acts of magic. A secondary consciousness, encapsulating those parts of himself that he defines as 'the Initiate', will appear to have arisen, to have Come Into Being.
This phenomenon will be similar to that of 'the observer', with which we will all be familiar. Basically, the observer phenomenon refers to the process where you are doing something, but then suddely realise that there is another 'you' or aspect of you who is watching you do it. The first stirrings of this magical 'other you' will happen when you notice that upon entering a magical trance state or performing any act of ritual magic, a kind of wiser, more charismatic self appears to come to the fore and take you over.
This entity – which we may call the Wode-Self – is discussed briefly in chapter four and its arising and subsequent development will be documented quite thoroughly in chapter six.
The Ultimate Rune
and the Runic Shaping of the Void
As the Initiate contemplates the role and nature of Ginnungagap – the Void – in the process of magical creation, so he will begin to grasp the significance and immanence of Runa – the Ultimate Rune – as it brushes the fringes of his consciousness.
Runa is the Mystery that lies over the next horizon, it is that which is immanent, but which has not yet come into manifestation. Runa is Schrödinger's Cat before the box has been opened. It is reality about to resolve in one direction or another, the tension before it happens. It contains all of the runestaves within itself as expressions of itself.
The task of the magician with relation to Runa has two parts, each equally important. First, he must discern which resolutions are likely and which are not. Then he must manipulate those specific runes which will coax Runa to resolve a situation in such a way that will manifest the most likely of those resolutions which is most resonant with his purpose. These two operations are divination and sorcery respectively.
Runa is much bigger and more important than this – also much more personal. We will return to stress just how big and how important later. But this offers a brief insight into the magician's interaction with Runa in his magical practice at this stage of Initiation.
Rune Poems – Inspiration and Sacred Utterance
If you have practised the section of this chapter dealing with divination, most particularly divination through direct apprehension in a trance state rather than just rune-casting, you will already be familiar with perceiving and expressing in words the currents and images that well up into your conscious mind from the subconscious depths when you direct your Will to this purpose. Before concluding this section of the Work, we should try to extend this practice into two new and exciting areas. These are skills which will become particularly useful later on, but in order for them to do so, you will need to begin the ground work now and get some solid practice in.
Take some time to read the rune poems (the Old English, Old Icelandic and Old Norwegian Rune Poems). These are contained in many runic texts, but the best two for the purpose are either Rune-Song or The Rune Poems, Vol. 1, both by Edred and published by Runa-Raven Press. These poems consist of a series of stanzas, each of which is a brief encapsulation of the qualities of one of the runes. Study these poems avidly; commit them to memory if you can. Learn what it is they have to say about the runes. For some runes, this will be straightforward, but other stanzas will require a deal of thought and meditation until you pin down the core meaning and how it pertains to the rune.
Once you have fully familiarised yourself with the traditional Rune Poems and the way in which they are constructed and worded in order to reflect the innermost qualities of the runes in frequently riddling language, you can progress to the next step. This is to write a rune poem of your own.
Don't simply sit down and begin writing the first thing that comes into your head. Take time to invoke each rune properly, letting its essence infuse your consciousness. See what thoughts and images spontaneously arise and use these as the basis for your poem's stanzas. Choose your words carefully in order to convey the correct emotion. Remember that sounds have power in runic magic, so shape your sounds well. Work through the entire rune row in this manner until you have completed all twenty four stanzas of your own Rune Poem, which taken in its entirety will be your own unique and personal apprehension of Runa.
Next you should sit down and reread the Poetic Edda. Pay particular attention to the more prophetic and visionary sections. Then think of how these writings are enhanced and made majestic by the visionary elements and the words used to describe them. Words – in the hands of a poet or visionary – are amongst the most powerful and world-changing of all magical forces. True 'words of power' are those which you utter and which then ripple out across the world, travelling from mind to mind, creating change in every consciousness they touch. This is true magical power and the triumph of the magical approach of galdor.
You should be accustomed to using inspired prophecy as part of your divinatory toolbox by this stage. The next time you use it, try to capture your impressions in words and weave them as skillfully and as powerfully as the words are used in the Eddas. Become a prophet in truth.
CHAPTER SIX
HANGING ON THE TREE
In this chapter, the Work really steps up a notch. Paradoxically, the prescribed exercises will become much fewer in number. Instead, you will need to devise your own means of considering the ideas presented and Working with them to increase your Understanding.
In this chapter, we will take another, closer look at Sigurd as the heroic slayer of Fafnir and the treasures and powers he thereby became master of. But we will also take a first look at another of the great Dragons of the North, Jormungandr, the Midgard Serpent, who lies at the bottom of the ocean and encircles the world, bounding it with his coils.
We will be looking again at Ginnungagap, the Creative Void, and will consider what it means to awaken the Draconian consciousness and open the Eye of the Dragon within that Void, perceiving its limitless possibilities in their entirety.
We will encounter the concept of the Wode-Self again in this chapter too, as our consciousness awakens parts of our Selves which have previously been slumbering. This will lead us some small way to determining why we are the people we are. Who are we and why are we here? We may now begin to Understand something of the concept of Destiny.
Mimir's Well and Hlidhskjalf
Odin sees all, gathering information to Himself, analysing it, tracing the patterns of Becoming, and making His plans to suit the ever-changing situ
ation.
We have already made reference to the two ravens, Huginn and Muninn – thought and memory – who fly out each day and return to tell Odin of all that they have witnessed transpiring in the worlds. But they are not the Old One's only means of vision or wisdom. As befits the often paradoxical balance factor found in Northern lore, Odin gazes out upon the worlds from both the highest and the lowest points on Yggdrasil.
Right at the very roots of the World Tree is located Mimir's Well. The waters of this well are renowned for the wisdom that they bestow. Odin sacrificed one of His eyes for a drink of this water, casting it into the well. However, His eye remains there in the well still, turned upwards, marking all that occurs in the deep places of the worlds.
At the other extreme of Yggdrasil, Odin has his seat upon Hlidhskjalf, the highest peak in Asgard and the uppermost vantage point in the nine worlds. From here He can look down and behold everything that occurs in the worlds below.
The symbolism of these mythic images is of great importance in this chapter and you should keep the well and the high seat in mind as we progress. For the Work of this chapter involves the process of opening the Eye in the Void, a process akin to Odin's sacrifice of His eye to Mimir's Well. At this stage in Initiation, you will also have a very definite experience of the Wode-Self awakening and steering your consciousness at critical moments, affording the Vision from the high seat.
In the previous chapter, you experienced the other worlds of the Northern cosmology by faring forth on imaginative journeys to explore them and the paths that link them. That realisation will now be taken a significant step further as you begin to realise that there are elements of your consciousness that permanently abide in these other worlds, especially those situated upon the central trunk of Yggdrasil.
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