From Bog Myrtle to Hops: Ethnobotanical fragments from the history of Nordic beer brewing

pors1.png

Jag haver så ont i huvud,
jag gitter ej lemman rört,
jag haver druckit det starke porsöl,
som är ifrån Dalarna fört.

I’ve such a pain my head,
I can’t bother the limbs to move,
I’ve drunk the strong bog myrtle ale
that the Dalecarlians brew.

Gustav Vasa och dalkarlarna, Swedish folk song

If you’ve ever walked a crooked mile along the beaches and lakes of Scandinavia, the British Isles, and the Baltic, and found that the air around you seemed saturated with a peculiar spiced, gassy herbal fragrance, then chances are you’ve had the joy of stumbling across the myrica gale, a green leafed shrub that thrives in wet, sandy, and acidic soils along the shores and marshes of Northern Europe.

Many know it by one of its English names, bog myrtle or sweet gale, while Scandinavians tend to know it by some variant of the same name as the vikings knew it, which was pors. Bog myrtle has a number of wonderful uses. Not only has it lent its sweet and distinct bitter flavor to distilled spirits for centuries, it was a common sight in the farmer’s brewing kettle for millennia before that. It is among the oldest documented additives of European prehistoric beer brewing, and is widely assumed to have been the most popular flavoring agent in beer before hops rose to prominence in the Medieval and Early Modern Periods. It has antiseptic properties, and apparently works as a repellent against mosquitoes, moths, and other pests. It is useful for plant dyeing, where it leaves a wonderful shade of yellow. It makes a bitter tea, and a wonderful scent when used as incense. A sprig can be used much like a bay leaf, and a pinch of leaves works well in gravy and game stew.

I used to have a nice little bog myrtle patch right below my house. People might often see me stalking the marsh in the morning dew of the early summer, cutting myrtle by the shrub, sometimes rubbing leaves in my face when the gnats got too nosy, huffing its gaseous bouquet as I went. On infrequent, but usually spontaneous nature hikes I would make it my express goal to seek out places where the bog myrtle might grow. Finding a new “porsbrot” (Old Norse, “bog myrtle foraging spot” - literally “bog myrtle quarry”) was always a great delight.

My enthusiasm for this plant is so unbridled that I had to downsize my foraging not to de-shrub that patch beneath my house. Hurt by past losses I always tried to forage from different sites, ever since vandals from a local charity razed my oldest foraging spot to make room for an eyesore of a gazebo. Apparently to facilitate public access to “nature experiences” as Norwegians like to call their glorified dog walks. Luckily it’s so abundant that irreverence and ignorance are its main concern. That does not hurt the bog myrtle, but the many who pass it by without realizing the ancient treasure it represents. Many are unaware, some keep their distance. It remains a dangerous outlaw of a plant among some individuals. Not because it’s a weed, either. It is in fact very picky about its turf, wild and resistant to domestication.

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Jeg vandrer opad den mosgrå stenvei
Hvor veien slutter, begynder lyngen.
Og her gror brisken, og her dufter porsen.
Her hører jeg til, og her har jeg hjemme,
og hjertet blir stille som sundet mod kveld.

Og intetsteds længes mit sind tilbage,
og intet menneske her jeg savner."

I wander along the moss grey stone path.

Where way ends begins the heather,
and here grows the juniper, and whiffs the sweet gale.
Here I belong, and here is my home,
the heart grows silent as the strait at dusk.



And nowhere does my mind yearn back,
and no person here do I miss.

— Vilhelm Krag, Yachten. Sange fra min ø (1918).

Under various vernacular names, myrica gale was the king of beer additives Northern European prehistory up until at least the middle ages, and in certain areas much later. It has fallen quite from grace during the past couple of hundred years until it vanished more or less completely in recent generations. Today, bog myrtle is a rather obscure plant used only by a small niche of revivalists paying homage to Northern Europe’s brewing heritage, but was often actively avoided in the near past. Mysteriously, it also attracted a low key cult following within Scandinavia’s peasantry, probably for the exact same reasons as others shunned it. But the rise and fall of bog myrtle is a long winded saga that cannot be explained in absence of a multitude of other factors. In a way, the demise of bog myrtle is found in the foundations of the modern beer industry itself.

Bog myrtle is subject to a widely held belief that the plant is dangerous to one’s health. The claims and superstitions range from it being mildly narcotic, to being an abortifacient, outright poisonous herb that spews deadly fumes that are prone to kill any man who strays too far into its territory. True, the sweet scent of myrica gale makes my heart race, my mouth water, my pupils dilate, my feet stumble, and my loins swell, though I am sad to report that none of this is to be blamed on some narcotic high, but my enthusiasm, nostrils and taste buds, alone.

Beyond its reputation as the crystal meth of the old Norwegian peasantry, another common myth holds that those who drink bog myrtle beer suffer hangovers most severe, inhumane even. I will not deny that I have suffered gruesome, crippling, day-long ailments after drinking bog myrtle beer and mead, but no more than other homebrew projects of diverse quality and unreasonable quantity (My first homebrew was some sort of cauliflower-based kilju, so I’ll use this opportunity to appeal to authority). All evidence to the contrary are purely anecdotal, and several scientific studies have failed to identify anything fishy about the chemical composition of the plant. History will vindicate it! Suspicion sticks, though, and notions about its toxicity have arguably made the plant a bigger novelty than it otherwise would have been. Hence, some scholars who ought to know better still reproduce the same unproven narrative about myrica gale, which serves to exhaggerate the unwise ways and habits of our less civilized, pre-urban ancestors.

Beer bowl displaying some of the dualities of drinking culture. Photo: Norsk Folkemuseum

Beer bowl displaying some of the dualities of drinking culture. Photo: Norsk Folkemuseum

Like a shared meal, drinking culture is partially about establishing and confirming who is in and who is out. The loss of self-control and inhibitions that come with intoxication also reveals something about our character we don’t always express, whether by accident or design. Drinking often forms a cornerstone of initiations, diplomacy, bonding exercises, weddings, business deals, and sundry rites and ceremonies across the ages. Drinking reveals, in a sense, who we really are. A lot of the stigmas and problems attached to drinking in the modern world can be traced back to the idea that drinking is only about fun and revelry, recreation, or rather the loss of one half of the culture and concept that was very much respected in the past; namely that drinking was serious business.

In Brewing and Beer Traditions in Norway (1969), Odd Nordland provides ample examples of how the old and new beer culture clashed with one another, and how the ritual and solemnity of beer drinking perished with the demise of local farmhouse brewing. In the past, to be buried without proper beer for the funeral feast was considered a shame, to the point where some farmers even oversaw the malt production from their death bed to ensure they would at least leave behind the legacy of a good funeral beer. Burials were even postponed until the funeral beer was ready. It was natural to brew beer for any monumental or important occasion. Lighter beer for work, strong beer for the big occasions, whether to celebrate the birth of a new family member, or mourn the death of a loved one. But around 1900 or so, these ideas and practices were already starting to get marginalized, and eventually the concept of the funeral beer itself became absurd in the eyes of people now attuned to think of beer in terms of recreation, sensory gratification, and even sin (Nordland 1969: 9-13).

But the the who, what, and whens of drinking go far beyond the rural Norway’s ghost of brewing past. The Romans scoffed at the drinking customs of so-called barbarians, and ancient Germanic societies developed complex social hierarchies glued together by the prestige of parties where extravagant and expensive beverages flowed. Before the rise of microbreweries, beer drinking wallowed in the gutters below the ivory towers of “wine culture”, and in many cases still does. English ale drinkers superstitiously believe that lagers turn men into monsters, and I’ve personally witnessed a Cambridge bartender who refused to serve snake-bites to women, specifically for the same reason. As we will see, similar sentiments also came to influence the consumption of bog myrtle beer.

In the past there was never really a standardized method of beer brewing as there is in the modern industrial brewery, which conforms to a completely different set of standards and philosophies. There were some recurring tools and implements, and a general outline of the grand process, but on a more specific level, people repeated time tested techniques and customs they had observed since childhood, handed down through generations.

An overlooked factor of traditional, rural cultures is that they are often suspicious and intolerant of changes that challenge their identity and ways. While it is true that all is flowing in the world of culture, the river seems to flow a lot slower beyond the reaches of urban centers. The farmers of Norway held conformity in high regard, but brewing beer provided an opportunity for self-assertion. Brewing good, strong beer according to the traditions and expectations of their village, was a great source of pride among farmers. Until the village doctor became a common feature of the Norwegian countryside, peasants were still drinking from communal feasting vessels as they did in the Bronze Age, though technological, cultural, and economic factors changed the style and contents of the beer bowl. Farmers looked on practices that deviated from their own with suspicion, and often didn’t consider the malted slop of neighboring areas to be “true beer” at all. When beer was served it was important to judge or praise it as the context demanded. Many did not even boil their wort (so-called “raw ale”), and disbelieved the proven and honored techniques of other areas where they might instead pour boiling water straight on the malt. But both often drank their beer so fresh that it was still fizzing and foaming at the table! Horror stories both, at least to the ears of the modern brewer, with his temperature controlled equipment, chemical sanitizers, and lab engineered yeast. These are techniques that go against conventional brewing wisdom one way or another, not least the myth that beer is safe to drink because it demanded that water was boiled, which isn’t true: Many people fermented their beer unboiled, which might have been the case throughout much of Scandinavian prehistory as well. Mashing itself effectively sterilizes beer, which is keeps due to alcoholic fermentation and PH value.

Three marinated men, one beer bowl. Photo: Hardanger og Voss Museum

Three marinated men, one beer bowl. Photo: Hardanger og Voss Museum

A history of hops in Scandinavia

In the following paragraphs, we will try to make sense of how a once obscure herb came to run botanical beers into extinction through a combinations of economic factors, health scares, and social stigma. Beer without humulus lupulus, or hops, remains unthinkable to most people currently alive. Yet, that would have been the norm in many beer guzzling parts of the world until just a few hundred years ago. You can thank the slimy tendrils of the 16th century Bavarian reinheitsgebot (“purity law”) for that, which is the totalitarian ideology that confines beer to the narrow definition of “water, malt, hops (and yeast)”. I have no issue with such beer per se. It is fascinating how much variation you can achieve from those four ingredients alone. But it’s plain to see that the purity law was the very detonator behind the implosion of certain native brewing practices not only in Scandinavia, but across the globe.

At the peak of the Roman Era, hops are virtually unseen in the archaeological record across the European continent. At this time, hops were likely picked in the wild, and there is no mention or evidence tying it to beer or any other fermented beverage. This apparently changed in the Early Middle Ages, with evidence of hop cultivation in Bavaria from the mid 9th century onward, which soon spread to France, and notable intensification of hop cultivation in the 11th century. It seems exceedingly likely that this was, at least in part, due to a new trend among continental brewers.

There are other possible explanations, though, and initially it seems that hopped beer was a curiosity confined to certain regions and areas of Europe where myrica gale wasn’t available (cf. Behre 1999). Beer was probably an afterthought from its primary use in cooking and medicine, apparently hop shoots can be eaten like asparagus. Another possibility is its use in cordage and textile production. It has been suggested that monasteries, which dabbled in the production of all sorts of alcoholic beverages, experimented with several kinds of herbs before finally popularizing hops as a beer additive (Nelson 2005: 105). While beer was traditionally drunk fresh in the farmhouse brewing tradition, the addition of hops would have increased the beer’s shelf life, which in turn must have revolutionized beer as a traded commodity.

Trace amounts of hops have been identified in several Scandinavian central places as early as the Viking Era. This includes Kaupang, Birka, Ribe, and Hedeby (Behre 1999: 40; Nelson 2005: 107). Given the apparent obscurity of hopped beer even on the continent at the time, it may seem far-fetched that Scandinavians used it for brewing. Lacking evidence for cultivation, the hops may have been imported. Though it is not immediately clear whether Scandinavia has indigenous, ancient hop varietals, or if the hops currently found in the Scandinavian wild are descended from imported rhizomes from the Middle Ages and later. It doesn’t make it easier that hop pollen is hard to differentiate in archaeobotanical contexts from its famous relative, cannabis sativa (hemp) which was certainly used for textiles since at least the 3rd century onward, making pollen analysis difficult. Hops must have been a common sight in medieval monastic yards, as well as the ornamental gardens of Baroque era estates. Halfway a useful herb, halfway garden ornament, hops eventually grew to become a taxable commodity, and official decrees to intensify hop cultivation in the 17th century indicate that hopped beer was certainly commonplace by then, though the same text reveal that there were still significant gaps in the emerging “hop curtain” where older, traditional beer additives were still preferred.

The very first mention of humli, or hops, in any Old Norse text comes from the Frostaþingslǫg, a Medieval Norwegian law code with Viking Era origins, establishing set fines for hop theft. This is often taken as evidence for Viking Era hop cultivation, and among those who have put this argument forward is the Norwegian pharmacist Frederik Grøn, who attempted to contrast hops against bog myrtle, its most obvious competitor (at least retrospectively), in his book Om kostholdet i Norge indtil 1500 (“On the Norwegian Diet until 1500”) in 1927. There he argues with some futility that hopped beer was an ancient Scandinavian product, and even stakes the claim that it predates the use of bog myrtle in Norwegian brewing. His argument is based on the idea that Snorri Sturlusson attributes the code to king Hákon the good, who ruled in the mid 10th century, ignoring that the law in its surviving form dates to 1260 and the rule of Hákon Hákonarson. We can most reasonably assume that this was a Medieval amendment, which gives us a terminus ante quem for Norwegian hop cultivation of the 13th centory or so. Either way, it doesn’t help Grøn’s argument that we have archaeological evidence for bog myrtle in alcoholic beverages as far back as Bronze and Iron Age Denmark, and with new cases of bog myrtle identified in Viking Era brewing sites emerging since he published his book in 1927. To date I am aware of no examples of hops in such a context.

Bog myrtle and malt. Both leaves and cones may be used, but the latter was often preferred. Photo: Eirik Storesund

Bog myrtle and malt. Both leaves and cones may be used, but the latter was often preferred. Photo: Eirik Storesund

However, Grøn had some reason to be suspicious, given that the literary sources don’t exactly overflow with references to bog myrtle beer, either. Then again, if bog myrtle was a standard ingredient, initially without much competition, I see no reason why saga authors ought to point out their presence. Besides, bog myrtle doesn’t grow on Iceland, where the majority of our surviving corpus was written. Medieval Icelanders probably didn’t drink much bog myrtle beer at all, and if so, it must have been imported. We know from legal manuscripts that bog myrtle was traded, and from medical manuscripts that is was used medicinally on Iceland.

Thus, most of our sources to the importance of bog myrtle ale in Old Norse texts come from legal documents, and is often indirect. For example, in Norway, bog myrtle beer was subject to protective legislation in the face of German imports, implying that bog myrtle was not only economically important, but possibly seen as a native cultural institution of sorts. Deposits of bog myrtle and malt from Bryggen in Bergen, as well as the medieval arch bishop’s estate in Trondheim dated 1300-1500 indicate that bog myrtle beer was being brewed at these sites with some intensity for generations (Sandvik 2016: 228). Bog myrtle is also mentioned as a general trading item alongside russet, cloth, and hops, the latter certainly implying the presence of local hopped beer as well. Property rent could even be paid in bog myrtle, and farmers who owned marshes where it grew had the same rights to these sites as farmers with coastal properties to fishing waters (Nordland 1969: 216).

While the first Scandinavian meetings with hopped beer were in all likelihood imported, hopped beer isn’t mentioned at all prior to the 14th century, though it had probably been drunk for quite some time before then. The source, the will of a cleric in Stavanger dated 1355, refers to it by the term humlamungát. In medieval law as well as the wider cultural connotations seen in Norse literature, mungát seems to refer to beer brewed in the household, or at the very least domestically. Therefore, it seems fairly certain that the beer in question was a locally brewed product, and that hops had begun to take root among urban Norwegian brewers in the 14th century.

While hopped beer must have been popular on the continent for centuries already, it is not until the aforementioned Bavarian purity law, and similar decrees (before and after) in other German states, that we can conclusively say that humulus lupulus was well on its way towards global domination, beginning with the suppression and extinction of several local German beer styles using herbs and fruit, or even other kinds of grain than malted barley. Olaus Magnus mentions in the 1500’s that the citizens of Bergen drank beer in great quantities, and believed himself that this was partially due to the hop content of foreign import beer, which made it suitable for overseas export (Nordland 1969: 225). This doesn’t really say anything about the extent of hop use in Norwegian brewing, but it may suggest that hoppiness still was a quality associated with foreign beer. This may over time have developed into a preference in favor of hops.

I addressed the likelihood that hopped beer was primarily a phenomenon tied to urban centers and coastal marketplaces. There must have been a great deal of cultural pressure from the south, as several German states continued to enforce limitations on beer brewing in the 16th through 18th centuries, abolishing so-called gruit beers, and making it a criminal offense for brewers to even have bog myrtle in their house (Nordland 1969: 221). This legislation still lives on in the legal definitions of “beer” in some countries, chiefly Germany, and even some American states, which prohibits the sale of non-hopped or herbal beverages under the term “beer”.

In the resulting paradigm shift, herbal ales that had once been ascribed beneficial medical properties, were now entirely outlawed, feared, and despised, with the result that the tradition surrounding them died out in Central Europe. While the same legal pressure was not applied to Scandinavian farmers, this certainly affected the market as well as cultural perceptions about beer and brewing among the elies, as well as commoners living in the cities, which was obviously bound to trickle down into the general populace. In the following centuries, hops gradually took over as the main additive of traditional brewing also in Norway, failing only in certain regions, probably in part due to climatic limitations that yielded hop growing unprofitable, and these regions are well known to have made bog myrtle beer up until modern times (Nordland 1969: 220).

Juniper is another common farmhouse beer additive commonly believed to have ancient origins. There seems to be no evidence for this in pre-modern literary sources, and only scant archaeological evidence. The best argument for archaic and ancient use of juniper in farmhouse brewing is made by pointing to how widespread it is across the Nordic area, and the conservatism of available brewing technology and methods, where juniper twigs were used as filters.

Though bog myrtle had fallen from grace by the 20th century, Nordland attests that the plant was still widely known as a beer additive. Infamous and ill reputed, not everybody was willing to openly disclose whether they used or enjoyed it. This demonstrates a problem with certain ethnological questionnaires: Informants might be reluctant to hand out information that make them seem backwards and unmodern, or have their customs scrutinized as curiosities. Noting a discrepancy in eyewitness accounts versus self-reported accounts from brewers themselves, Nordland speculated that bog myrtle beer was more widely brewed than people were willing to admit as late as the 1960’s.

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Hops as ‘war on drugs’

In terms of preservative qualities, bog myrtle simply cannot compete with hops. As far as my own anecdotes have any value, bog myrtle beer does seem to have a shorter shelf life than its hopped counterparts. And while hops are fairly easy to cultivate, the same cannot be said for bog myrtle - though isolated pockets of the plant in otherwise bog myrtle deprived areas have been suggested to stem from prehistoric attempts at domestication. Economically, hops are flat out better suited for a modern, global industry than indigenous, wild botanicals. But these factors alone do not explain the marginalization, and often enough the extinction, of herbal farmhouse ale traditions. While the purity laws of the continent had no direct legal power over Nordic brewing, the impact of the health scares and fashions that arose from them must have affected Scandinavia as well, particularly with the emergence of urban communities, industrialization, and adoption of continental habitus.

The real or imagined chemical properties of these herbs were important the latter stages of hop dominance. While the logistics, agriculture, and economics of hops might have been the backbone, their sole monopoly is better explained by their status as the only legal bittering agent in significant portions of the continent, and especially the properties attributed to bog myrtle and other herbs in this time frame.

While it certainly true that a wide variety of harmful plants have occasionally been used in beer, it seems that the hop plant’s reputation as harmless ingredient had the often intended side-effect of painting native alternatives as outright poisons. This seems to have had the inadvertent effect that many people sought out these plants for their apparent special effects, assuming that these poisons could be harnessed for their narcotic effects. Locally foraged herbs like hypericum, yarrow, and bog myrtle are described in Nordic folk tradition as the ones to look for if you desire a beer to have an extra kick, or, as one informant put it in the context of a wedding beer: “to that the guests become crazy“. Some areas stuck to using bog myrtle for seasonal beers (say, Christmas ales and thirst quenchers for haymaking), but the main motivations for using it were primarily taste, head, and above all potency. Peculiarly, Nordland accounts that bog myrtle beers were often considered too bitter for most people. Considering that the bittering agents of bog myrtle are far milder than most hop varietals (not even considering the alpha acid juggernauts of the modern brewery), at least in my experience, they must have been using a lot of bog myrtle to make it significantly bitter, though traditional ales are generally less bitter than their modern counterparts. High alcohol strength was highly desired, and such beers tend to be more heavy in the residual sugars.

The fact that many of these herbs were rumored to cause terrible hangovers was no deal-breaker, but taken as evidence that these plants had powerful intoxicating properties. In a way, hangovers are obviously associated with the strength of the beverage. As Nordland points out: “Hangover was a good advertisement for the strength of one's ale. As a result, the 'victim' was constantly reminded of the alleged quality of the ale he had drunk. Thus it could be of social importance to produce ale that became noted for its special effects.” Chemical analysis has debunked the notion that bog myrtle contains any harmful or narcotic agents, despite all accounts and reports to the contrary. Whether there is anything in bog myrtle that reacts with alcohol to produce some kind of reaction (like increased hangovers) is a more complicated question, but it seems easier to accept that people, believing they were going to get extraordinarily drunk on bog myrtle ale, drank more bog myrtle ale, and hence got extraordinarily drunk. Of course, hangovers are subjective and tremendously difficult to quantify.

In all matters intoxicating, the placebic power of suggestion shouldn’t be underestimated. Conversely, I have never been convinced that bog myrtle had any special properties beyond pleasant flavor and aroma, and hence I never experienced anything I would describe as out of the ordinary. I have, however, taken a larger dose of bog myrtle extract that resulted in profuse sweating and frequent urination, which is in line with its reputation as a diuretic. Then again, it seems there is hardly a herb that doesn’t do the same when taken in heroic doses.

Whilebelief in the power of bog myrtle might have earned it a cult following, we should also take into account the presence and motivations of local traditionalists who kept it old school, who might genuinely have enjoyed the refreshing taste, and the sweet fragrance of a bog myrtle marsh in the early summer, as I have on many occasions. Cheers!



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Literature

  • Behre, Karl-Ernst (1999). A History fo beer additives in Europe - a review. Vegetation History and Archaeobotany. Springer-Verlag

  • Grøn, Fredrik (1927). OM kostholdet i Norge indtil aar 1500. I kommisjon hos Jacob Dybwad: Oslo

  • Nelson, Max (2005). The Barbarian's Beverage - a History of Beer in Ancient Europe. Routledge: London and New York

  • Nordland, Odd (1969). Brewing and Beer Traditions in Norway. Universitetsforlaget: Oslo

  • Sandvik, Paula Utigard (2006). Frå Nidarosen til Nidarneset: Ein integrert naturvitskapleg - arkeologisk - historisk rekonstruksjon av framveksten av Trondheim. NTNU: Trondheim




Sex, drugs, and drop-spindles: What is Seiðr? (Norse metaphysics pt. 2)

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In this second part of my series on Norse metaphysics, we're going to look at one of the most important, fascinating, and complicated terms in Norse magic: Seiðr (anglicized seid), a specific magical practice, closely associated with spinning and textile work, sexual taboos, and possibly trance and ritual ecstasy. Unfortunately, it is also one of the most misattributed terms in the study of pre-Christian magic. No wonder, though; the sources leave a lot to the imagination.

Magical misunderstandings 

We're dealing with two main misconceptions. Firstly, seiðr is often confused with siðr – mostly among non-scholars. Though similar in spelling, the two terms have widely different content and etymologies: Seiðr is restricted to a specific magical practice, while siðr refers to abstract notions of “tradition, paradigm, custom”. In short, siðr is the closest thing the Old Norse tongue had to a word for religion, before Christianity appeared with the concept of trú (faith). This goes back to the fact that Norse pagans did not see religion as something distinctly separate from society. The separation of religion and cultural custom was originally inconceivable, as it was an ethnic religion. In such a system one is born and raised according to a certain set of customs and beliefs particular to your family or ethnolinguistic group, but I digress.

The second misconception relates specifically to the contents of seiðr in magical terminology. Namely the idea that seiðr originally referred to Norse magic in the broadest sense – that seiðr is any given kind magic in the Norse world – which is inaccurate, though some sources make such generalizations. For example, medieval translators may reach for seiðr when they need a convenient native word for magic when working with continental sources. It's a mistake commonly found in academic works, perhaps written by scholars who may not be specifically interested in the technical peculiarities of the history of magic. For example, Rudolf Simek – otherwise a true pillar of the academic community – writes in his highly influential Dictionary of Northern Mythology that galdr (“chant, incantation, spell”) is: “an element of the Old Scandinavian magical practices (seiðr)” (Simek 2007: 97). However the sources do not correlate these terms: Seiðr doesn't pretend to be “magic in general”. Moreover, there is no evidence or reason to consider galdr a practice tangibly subordinate to seiðr, though galdr occurs alongside seiðr in certain sources.

Swooping around secondary literature (or online), one may also encounter off-hand comparisons between seiðr and shamanism. I've even seen seiðr referred to as a kind of “Norse shamanism”. I think one should avoid applying this term to the Norse tradition, and please excuse my pedantry. The comparison itself is not helpful without further elaboration, given the large variety of ideas behind such a casually thrown about word. However, it is true that there are qualities to seiðr that are also found in certain traditions, that are conventionally referred to as “shamanistic”. Such as otherworldly visions and what we will call “spirit emissaries”.

Reconstructing seiðr from vocabulary and etymology

So far, we've focused on the things that seiðr is not. To recap, seiðr appears to have been a specific practice, and not all viking age magicians did it. From now on we'll be addressing method and its practitioners, starting with a tentative analysis of vocabulary. For example, one verb associated with performing seiðr is efla - “to prepare, perform, arrange”. In the context of ritual, this same verb is also associated with performing blót, or “sacrificial ceremony/feast”, which was the main expression of public religion in the viking era. From this we may assume that seiðr fell into the category of ceremony, consisting of a series of rituals and rites. In the study of religions, rites are the building blocks of ritual. A rite is any individual gesture, movement or action (for example: a prayer), which may join in a sequence to form a ritual. For example, a prayer may be followed by an offering of food or drink. When several rituals come together they form a ceremony. One may have a procession, followed by a petitioning of the gods, followed by sacrifice, followed by a feast – all with their individual minor rites. If this assumption is correct, it would seem that that the performance of seiðr took the shape of a prepared, sequential event. This also how it is described in Eiríks saga rauða, which gives an elaborate description of such a séance involving a vast number of items and gestures. It also suggests that the seeress was a respected specialists that traveled to offer her services. By the way: A supplement containing a translation of this passage is available to my patrons.

Practitioners and titles

Magic itself is commonly referred to as fjölkynngi which means something akin to “manifold wisdom”. Linguistically, it is associated with the folkloric concept of cunning folk, broadly an umbrella term for European folk magicians of all kinds. Those who possess fjölkynngi are sometimes described as versed in seiðr. There are also specific titles such as seiðkona (“seid-woman”) and seiðmaðr (“seid-man”). The late 12th century king's saga Ágrip recounts that king Harold Fairhair's 20th (!) son, Rögnvald, was a “seid-man, that is to say a seer” (seiðmaðr, þat er spámaðr). The female counterpart is commonly referred to as a spákona, and adds to the general impression that divination (spá) was one essential quality of seiðr. Ágrip also refers to Rögnvald as a skratti, a sorcerer/warlock, which is a common derogatory title for male practitioners, apparently related to Old English scritta “hermaphrodite” (see below for seiðr and sexual taboos).

The practice is further associated with a particular female ritual specialist called a völva (plural völur), conventionally translated as “seeress, oracle”, and is used interchangeably with spákona. The title seems to derive from völr, meaning “stick, staff, wand”. Staffs are also associated with the völur in described in Eiríks saga rauða and Laxdæla saga. With the former described as decorated with gems and brass fittings, and the latter referred to simply as a seiðstafr – “seid staff” (Heide 2006a: 251).

 

Seiðr staffs? Photo: National Museum of Denmark

Seiðr staffs? Photo: National Museum of Denmark

Incidentally, this may be tied to ornamented iron staffs found in several viking era female burials, which bear a striking resemblance to some varieties of traditional distaffs. Scholars generally agree that these may indeed have been magical wands associated with the völur and used for seiðr. This is a theory commonly associated with the work of Neil Price and Leszek Gardeła, with the latter having recently published an entire book on to this subject. These distaff-like staffs lead us to our next point, namely the practice of seiðr and its relationship to spinning and textile work.

Seiðr as magical textile work

Literally, seiðr appears to mean “thread, cord, snare, halter”, according to Eldar Heide. His 2006 doctoral thesis “Gand, seid og åndevind” [Gand, seid, and spirit-wind] is by far the most comprehensive linguistic and philological study on the subject of seiðr. His work is noteworthy not only for the heavy and technical use of etymology, and the pre-Christian traditions of the neighboring Sami people. He also uses later folklore to point out interesting analogies.

 

Photo: Norwegian Museum of Cultural History

Photo: Norwegian Museum of Cultural History

One of Heide's key points is that magicians were believed to send their mind forth in spirit form to do tasks outside of the body. In this he points to an apparent continuity of motifs from later folklore to pre-Christian times, which also includes a parallel notion of magic manifesting as wind – which associates the spirit with breath – which we shall get into later on. Both the will of the magician, and magical winds, could be visualized as something spun, such as a thread or a ball of yarn. For example: Witches in later times were believed to be able to steal milk from other peoples' cows by milking a rope (Heide 2006b: 165). It is significant to Heide's interpretation that the tugging motion involved in milking resembles the pulling of a rope or cord, since seiðr – as we shall see – seems primarily concerned with attracting or pulling things.

Moreover, Heide leans on the consensus that seiðr was a practice in which the magician used spinning to conjure spirits, for example to help her see geographically or temporally distant events. However, his main emphasis lies in the deployment of the magician's mind, or rather what he calls a “mind-in-shape emissary”, a spirit visualized as a cord or line, which may be sent forth to perform various tasks. It has been suggested, based on the meaning “snare”, that seiðr related to binding spells common throughout western magical traditions, but Heide considers this explanation too simple: “Binding is not very characteristic of seiðr. However, with a cord, one can not only bind, but also attract things, and this is characteristic of seiðr” (Heide 2006b:164). Heide seems to keeps a relatively strict emphasis on how words are contextualized in the primary sources. Based on this he asserts that: “Seiðr (initially) seems to be all about the spinning, and sending of, and attraction with, and manipulation by, a spirit-cord” (Heide 2006a: 237).

It should then make sense to us why the völva would carry a staff as an attribute, and why such wands take the shape of distaffs. Notably, this magic could be done on a dedicated platform, a seiðhjallr (hjallr means “platform, scaffold, loft”). Heide remarks: “When one is spinning, one would want to sit high above ground. Because this allows one to spin longer before one has to stop and wind the thread around the spindle” (Heide 2006a: 254).

Wikimedia Commons

Wikimedia Commons

The aforementioned mind-in-shape emissary, or “magic projectile”, is sometimes called gandr (anglicized gand). This is an extremely conflated term that literally means “staff, stick, wand”, but takes a wide array of forms and connotations in viking era, medieval, and also later sources. They may come in the form of not only a cord, but an animal such as a fly, a clawed beast, or even a “spirit-penis”, which may irritate or hook into the skin, or force its way through respiratory passages and bodily orifices. The emissary may also serve as a “supernatural spy drone” or manipulate objects. I must however be noted that such spirit emissaries, even when they attract and manipulate, needn't always be associated with seiðr or gandr. Rather, they may be features of the magical worldview of the pre-enlightenment Nordic area.

All in all, Heide points out two main properties of seiðr according to the primary sources:

  1. A spirit emissary that attracts resources or individuals, like a cord.

  2. Divination, which makes sense if fate was visualized linearly as a thread, which could be manipulated.

At first this may seem constricted, but seen collectively seiðr comes across as very versatile. It is ascribed to the conjuring of storms, making people vulnerable (or invincible), invisibility, killing, and even driving whole groups of people to suicide.

The gender norms and sexual taboos of Seiðr

In its apparent relation to spinning and textile work, it came to be associated mainly with women, as this was their domain within the Norse household. Textile work also had strong connotations to the concept of fate. As such, women are often ascribed strong intuition – and in the sagas it's not unusual for weaving to be associated with fateful events, and handling textiles sometimes foreshadows a character's death. This form of magic was not merely femininely charged; male practitioners were outright stigmatized, which has led to a lot of scholarly speculation regarding the apparent sexual and gendered content of the magical method.

Seiðr has an element of sexual magic, and it would seem; even gender bending. I've already mentioned the connection between Old Norse skratti “warlock”, scritta meaning “hermaphrodite”, suggestive of gender transgression. However, our main source comes from the mythological poem Loksasenna. When Odin accuses Loki of unmanliness (he had spent eight years as a woman in the underworld, milking cows and making babies), Loki retorts by revealing that Odin himself practiced seiðr: “You struck charms as a seeress [völva], in the likeness of a sorceress [vitka] you traveled above mankind. I consider that the pervert's essence.”(st.24) The accusation here is one of ergi, which is yet another hard to translate term meaning “perversion, fornication, indecency, unmanliness”.

One might justifiably think that it is strange to portray the gods in such a demeaning and compromising way, referring to them as witches, perverts, and throwing accusations that could easily get one killed according to Norse legal conventions. But Norse mythology rarely ascribes moral superiority to the gods. Perhaps their divine nature allows them a double standard that humans may not indulge in. It may also underline the fact that the Odin is an ambivalent, and often untrustworthy god, who repeatedly uses subversive methods to further his gains. 

 

The seiðmaðr as “unmanly man”

The concept of ergi also comes in the form of an adjective, argr, which means “unmanly, dishonest, slothful, soft, cowardly”, and less obvious; “recipient of homosexual penetration”. That is to say, all the things a man was not supposed to be, according to Norse notions of gender. Surprisingly the feminine form örg, does not mean “lesbian”, but “nymphomaniac”. When women are accused of ergi, it is because of lacking sexual self-control or loyalty, not any apparent magical association – as the case is with men. It seems that argr/örg could be interpreted as along the lines of “a socially disruptive compulsion to be sexually penetrated”, due to a quirk in Norse gender norms. Obviously, this definition would at first seem to elude the non-sexual, antisocial aspects of the term. Then again, Norse people were essentialists who tended to work with broad, metaphorical generalizations.

Snarky, ludicrous accusations of sexual deviancy were a common means of defamation in viking society, even tough false allegations of unmanliness could legally get the accuser killed. Sometimes, such accusations are supernatural to underline the stigma. While Norse magic is loaded with the same rigid gender expectations as the rest of society, seiðr was considered explicitly unmanly. Male seiðr-practitioners were worthy of suspicion and contempt, and they tend to be presented as antagonists in the sagas, as if their competency in magic underlined their apparent wickedness, and they are often made examples of by means of humiliating and torturous execution. The culture, as we've already seen, applied different standards to male and female gender roles, and while literary sources tend to consider paganism and magic as generally misguided, female practitioners tend to be portrayed as less disruptive to the social order.

A handful of runic curses also attest to the taboo of male practice. Prominently the runestone DR83 from Sønder Vinge, Denmark, which threatens that whoever disturbs the monument shall be considered “a sodomite and a seiðr-warlock” (serði ok seiðhretti). Something like an occult gay bomb by the look of it, it is clearly meant to deter people from breaking the monument. If the prospect of magic sounds tempting to the modern reader, the inscription implies that male practitioners had an abhorrent status viking age Denmark. Similar curses of magicianship and perversion are attested on the Saleby-stone (VG67) in Sweden, and the Danish Glavendrup-stone (DR20). Suggesting that the power to perform certain forms of witchcraft and magic came at an unacceptable cost in the eyes of common society, or that their very presence was considered destructive. I'm reluctant to use the word superstition, but perhaps we can compare the seiðmaðr to the witches of Africa today, who appear to be more abundant in popular imagination than objective, physical reality, but none the less real to those who believe in them.

Then we are forced to ask why the male practitioner held such a strong position in the Norse imagination, or why there was such a strong element of taboo in seiðr. I recall discussing this with Eldar Heide back when I did my BA, and we came to an interesting analogy to human sexuality – which is full of taboos. That that which is forbidden or suppressed, often becomes an object of fetishization – its allure and power may be proportional to the negative pressure it receives in society. It's not a paradox. For example: Japanese society is famously very formal, and infamous for its double standard in terms of sexuality. A strong emphasis on shame appears to conjure a counterpart: That which has no shame is both powerful and terrifying. Obviously, this is not a complete theory of human sexuality or magic, but it might serve to explain why the seiðmaðr was such a vivid character in a society where the concept of homosexuality, to the extent that such a concept even existed, was very negatively charged.

Seiðr, trance and ecstasy

What is less clear is how (and if) seiðr involved trance-like states, though it is very tempting to think so, as this pertains to certain other forms of Norse magic, which we will return to in a future article about spirits and gandr. If the theory holds true that seiðr was connected to spinning, then we may consider that the act of spinning involves rotation, and is suggestive of movements which could well induce a trance. Spinning around, and walking backwards in circles around a fixed axis, are two attested methods of inducing trance – even shape-shifting – in later Nordic tradition (Heide 2006a: 250). We may indulge in this speculation, though it says nothing conclusive about viking era practices.

Seeresses in the sagas make the claim that they see things other people can not, thought it's not clear how this manifests. In Eiríks saga rauða, spirits appear before the seeress (völva) when a particular poem (kvæði) named Varðlokkur is sung. A trance is not suggested, as she seems mentally present during the entire séance. However, there seems to have been a general notion that spirits come and go through respiratory passages, carrying desired information. Trance could have been associated with the magician's own spirit or free-soul (sometimes referred as hugr, vörðr, or fylgja) leaving the body. In Hrólfs saga kráka, a seiðkona repeatedly yawns as she provides information to her client about the whereabouts of certain people, but the sequence suggests that spirits are are arriving through her respiratory passages through magical attraction, feeding her visions, rather than her personal spirit being engaged in extra-corporeal travel (Heide 2006a: 182). This is in line with the idea that seiðr functioned like an invisible snare or line. None the less, controlled breathing remains perhaps the simplest and most common means of provoking trance-like states all over the world.

 

Henbane (Hyoscyamus niger) Photo: Wikimedia Commons

Henbane (Hyoscyamus niger) Photo: Wikimedia Commons

Seiðr and narcotic drugs

Finally there is the possibility of drug-induced ecstasy, which by the way is never suggested in any primary source. Its plausibility rests mainly on archaeological finds. Famously, a minute amount of cannabis seeds (less than a single dose, according to a friend) was recovered from the 9th century Oseberg burial, and apparently associated with the older of the two inhumated women who may or may not have been a seeress. Another exciting example comes from Denmark, specifically the Fyrkat grave IV, where a woman was buried with a number of peculiar items: An upcycled box brooch, serving as a container for toxic white lead which may have been used as face paint. Fragments of a decorated iron staff, possibly a wand – a seiðstafr. Pellets of rolled hair, fat and ashes – originally thought to be owl pellets. And finally: A small pouch of poisonous henbane seeds, which may be used both as an anesthetic and narcotic drug that produces “visual hallucinations and a sensation of flight” according to a friend by the name of Wikipedia. The peculiar assembly of items, particularly the fragmented staff, is suggestive of a ritual specialist at the very least.

Fyrkat IV, as envisioned by Þórhallur Þráinsson (from Price 2002)

Fyrkat IV, as envisioned by Þórhallur Þráinsson (from Price 2002)

A translation of the seiðr séance from Eiríks saga rauða is available as a supplement on my Patreon. Become a patron to access it.

 

Also in this series:

In Defense of Magic (Norse Metaphysics pt.1)
Spirits, Premonitions, and Psychic Emanations in the Viking World (Norse Metaphysics pt. 3)
 

Sources and suggested reading:

  • Heide, Eldar. 2006a: Gand, seid og åndevind. PhD dissertation. The University of Bergen.

  • Heide, Eldar. 2006b: “Spinning seiðr”. In Anders Andrén et. al. (eds.): Old Norse religion in long-term perspectives. Origins, changes, and interactions. An international conference in Lund, Sweden, June 3-7, 2004. Vägar till Midgård 8. Lund: Nordic Academic Press. 164-70.

  • Heide, Eldar. 2006c. Manuscript: Seid-seansen i Eiriksoga / Eiríks saga rauða.

  • Gardeła, Leszek. 2016. (Magic) Staffs in the Viking Age. Studia Medievalia Septentrionalia, Band 27: Wien.

  • Gardeła, Leszek. 2009: A Biography of the Seiðr-Staffs. Towards an Archaeology of Emotions. In L. P. Słupecki, J. Morawiec (eds.), Between Paganism and Christianity in the North, Rzeszów: Rzeszów University, 190-219.

  • Price, Neil S. 2002: The Viking Way. Religion and War in Late Iron Age Scandinavia. The Department of Archaeology and Ancient History. Uppsala University.

  • Simek, Rudolf. 2007: Dictionary of Northern Mythology. D.S. Brewer: Cambridge.