A Handbook of Saxon Sorcery & Magic: Wyrdworking, Rune Craft, Divination & Wortcunning - Alaric Albertsson 2017

Wiglung: The Arts of Divination
More Magic Techniques

Can you imagine trying to navigate an automobile or boat while blindfolded? That’s a bit like us humans moving through life—we often have no idea what’s coming toward us. An effective sorcerer, however, should be able to perceive the patterns shaping Middle Earth and the worlds beyond. These skills or arts are known collectively as wiglung (pronounced WEE-lung), a word meaning augury or soothsaying. Wiglung is often perceived as the practice of looking into the future, but it would be more correct to define wiglung as the practice of observing the influences affecting the future. Nobody can know exactly what the future holds because it is not yet set down; however, the general tides and currents can be perceived through the divinatory arts.

Over the ages, the Saxons and other cultures have devised countless ways to perceive these currents. Patterns have been found in the movements of the planets, in the entrails of butchered animals, in the rise of smoke and the fall of dice, in stones, in cards, and in dreams. Visions have been gleaned in the depths of firelight, in crystals, in mirrors, and in pools of water. The very best of these many arts, the method superior to all others, is whichever one works best for you.

In this book, we will limit our discussion to divinatory arts originating from or inspired by Saxon traditions. You could use classic astrology as a tool, and it might be no less effective than runes or scrying or seething. But it would not be Saxon wiglung. Every cultural tradition speaks its own language, not only in words but also in conceptual definitions. Many people today favor an eclectic approach to both magic and spirituality, but I believe there is wisdom in mastering one tradition rather than pasting together bits and pieces from dozens of different cultures.

Runic Wiglung

When the subject of divination—of seeing what may come to be—arises, the runes come into their own. In the popular imagination, runes are almost synonymous with divination. When used in this way, runes are a form of sortilege. This is the practice of perceiving patterns in the web of wyrd by casting or drawing lots. Tarot is another form of sortilege, but it is based on Pythagorean mathematics rather than Germanic mysticism.

In the chapter on Futhorc, we discussed divinatory rune sets, and by now you may have made or purchased your own set of runes for this purpose. Hopefully you have started to study these symbols. When runes are used simply for sortilege and nothing more, each symbol can seem to have a finite meaning. Feoh means “wealth,” ur means “strength” and so on. But runic wiglung can take the practiced sorcerer much deeper than this. Each rune embodies a complex mystery that can only be mastered through contemplation and study.

To make the most of runic wiglung, learn as much as you can of the runic mysteries before making any attempt at divination. Know something of the runes before you try to work with them. When casting or laying them out, let the symbols themselves speak to you. Do not thumb through a book to find out what an author said about beorc or dæg. At the very most—and this should be the exception rather than the rule—consult the relevant passage of the Rune Poem only when you are not certain of a rune’s meaning. Even this should be avoided unless you simply cannot remember a thing about the rune in question. (If that is happening often, you have not studied the runes enough.) When you lay out runes and then turn to a book, you are not reading the runes, you are reading a book. Trust in your own ability, and trust in the power of the runes.

If you are using a deck of rune cards, be sure that the illustrations on the cards are faithful to the Anglo-Saxon Rune Poem. I have seen illustrations in some decks that bear no relationship to the corresponding passage of the Rune Poem. I cannot overemphasize that this ancient poem is the only extant lore we have concerning the Futhorc, and it should be your primary resource when the meaning of a rune escapes you.

Casting Runes

There are two basic approaches to consulting the runes—they can be either cast or drawn. Runes must be carved into wood, bone, or antler or painted onto stones to be cast effectively. Cardstock does not lend itself to this process. Casting is no better or worse than drawing runes, it just depends on your personal preference.

Runes are usually cast onto a square cloth. This cloth should be no larger than twenty inches on each side. Rune sorcerers who cast their divinatory runes often keep them wrapped up in the cloth when not in use. If you have a myse cloth, that could also serve as your casting cloth. Or if you prefer, a rabbit pelt or piece of soft leather can be used in place of the cloth. I own a beautiful set of bone runes, a gift that came wrapped in a white rabbit pelt for casting. You may come up with other ideas for a casting cloth. The important thing is that it provides a soft surface for the runes to fall on.

To cast the runes, take all of them up in your hands. At this point I offer a brief prayer to Woden, asking for his guidance. Then drop the runes onto the cloth, letting them fall and scatter as they will. Some of the runes will bounce beyond the edge of the cloth. Gather these up and set them aside; they are not a part of the reading. Some of the runes will be face down, obscured from your view. Set these aside also.

Now study the remaining runes on the cloth. Look for the patterns formed by these runes. Notice how they fall in clusters, lines, and crescents. Each of these patterns reveals a message.

Solitary runes in a casting—those that land by themselves with no discernible relationship to the other runes—are fairly straightforward, but remember what I have said about reading the runes rather than reading a book. Once you have a connection with the runic mysteries, a single rune lying by itself will have its own tone and inflection. Peorth may say one thing to you now, and then something else entirely the next time you cast. Trust your intuition.

A cluster of runes should be interpreted together as one collective message. There is no beginning or end, no order in which the runes are interpreted. No one rune is more important than the others in the cluster … usually. If one of the runes has a clearer, more dominant inflection, if it simply feels more important to you, then that rune is probably more important. The messages that the runes convey to you should always supersede any rules I give here.

Lines of runes should be read from one end to the other, beginning with the end closest to you. When the runes fall in this pattern, you have a linear statement indicating a series of circumstances or events. It is possible to have a cluster positioned at some point on the line. The cluster, of course, is interpreted collectively.

When runes form a crescent, see if the shape is encircling or “cupping” a solitary rune or a cluster. If so, interpret the runes of the crescent as outside events or situations that are influencing the solitary rune (or cluster). If the crescent is not targeting another rune or a cluster in this way, interpret it much as you would a line of runes, reading from one end to the other, beginning with the end of the crescent closest to you.

Drawing Runes

Drawing runes is simply a matter of pulling one or more runes at random and laying them out in front of you. The most elementary way to do this is to draw a single rune. This gives a very general, basic reading. Such a reading is neither long term nor specific. I draw a single rune when I want immediate guidance, or when I want a general idea of what the coming day will be like.

Single Rune

Draw a single rune each morning for some quick advice for the day. Make it a part of your morning routine. This morning I drew the rune peorth. At the time I did not know what that meant, but as the morning wore on I realized that I was having a hard time focusing on my writing. Peorth is the rune of gaming and play. The rune was telling me that I would need to pull myself away from the computer and relax for a while. If I had not consulted the runes, I probably would have remained at the keyboard, even though I was accomplishing nothing. After a bit of downtime, I am refreshed and getting more done than I would have otherwise.

A single rune drawing is also useful when you are faced with an immediate decision. It is not for long-term predictions. Draw a single rune whenever you want a simple, general idea of the pattern of your wyrd here and now.

Three Runes

Draw multiple runes—three or more—for a more detailed view of the pattern of wyrd. An easy, popular layout uses three runes positioned like this:

PAST INFLUENCE—PRESENT WYRD—FUTURE POSSIBILITY

In this layout, the first rune drawn represents your wyrd. Lay this rune directly in front of you. This is the “here and now” similar to what you would find in a single rune drawing. In fact, if you were to stop drawing runes at this point, it would be a single rune drawing. This rune speaks of your immediate pattern.

Draw the second rune and lay it to the left of the first. This second rune represents past influences contributing to your present condition. The rune speaks of events, words, and deeds that have led you to where you are. Although the past is behind you, this second rune is nevertheless important in understanding both your present and future. Knowing how you have come to where you are can be extremely helpful in deciding where you intend to continue on.

Finally, draw the third rune and lay it to the right of the other two. The third rune represents what may come to pass. You have free will, of course, and the opportunity to alter your future if it is not pleasing to you. The third rune does not reveal an unavoidable fate, but rather a future possibility. The rune speaks of what may come to be if your wyrd continues to unfold in its current pattern. Altering this pattern, when necessary, is the work of the Saxon sorcerer.

The Seven Worlds

The Seven Worlds layout will give a much deeper and more complete wiglung. I reserve this layout for serious concerns. Draw seven runes, laying them before you in this order:

Saxon cosmology embraces the idea of seven worlds or universes. This layout places seven runes in positions corresponding to the locations of these seven worlds. Since these planes of existence—with the exception of our own Middle Earth—are extradimensional, the concepts of up and down, east and west, are poetic descriptions of their relative positions rather than actual locations.

The first rune, in the central position of Middle Earth, represents your wyrd, the pattern unfolding around you here and now. This rune tells of your current situation. It may speak of things related only in passing to your own concerns. The runes do not always tell you what you want to know, they tell you what you need to know.

The second rune, positioned in the realm of the Elves, represents factors nurturing your current situation. This rune often tells of your assets. As with the first rune, though, what this rune speaks of may be contrary to your own conscious plans. The second (Elves) rune nurtures the first (Middle Earth) rune.

The third rune, positioned in the realm of the Dwarves, represents possibilities not yet manifested. This rune tells of influences that are yet to come. If any part of this layout points to what the future holds, this is where you will find it. Dwarves bring possibilities into existence. They create. The third rune speaks of what will come to be.

The fourth rune, positioned in the “west” where the Wanic spirits dwell, represents outside creative forces. Wanic spirits are distant influences and so represent peripheral factors affecting your current situation. They can be harnessed, though, and drawn into your life more fully.

The fifth rune, positioned in the “east” where the Ettin (giants) spirits dwell, represents outside destructive forces. As with the fourth rune, this speaks of influences that can be harnessed to your advantage. We often think of a destructive force as something to avoid, but destruction is as necessary as creation. Throughout our lives, we are faced with many things that need to be destroyed—addictions, anger, sour relationships, and so on.

The sixth rune, positioned above the others, represents divine influence. This rune brings a message from the gods. It could be a general message from above, a message from your personal patron, or a message from your “higher self.” It is a place of inspiration.

The seventh rune, positioned below the others, represents ancestral influence. It brings a message from the dead. The message may be from one or more blood ancestors, or perhaps from another spirit who somehow inspired you.

As you can see, the Seven Worlds layout does not give a “future prediction” as the three-rune layout does. It is more like drawing a single rune in that it describes your current situation, but the analysis is much more thorough! This is a good layout to use before making any important decision. It helps reveal not only your wyrd, but all of the influences shaping it. I do not really need a “future prediction.” As a sorcerer, I intend to create my own future rather than wait passively for it to sweep over me.

You may practice wiglung for others as easily as for yourself, of course. In fact, I think it is actually easier to do this for others because you are not as deeply invested in the reading on a personal level. I like to have the other person draw his or her own runes (or drop them, in a casting), but this only a preference. Simply knowing as you begin that you are drawing runes for another person is enough.

Wyrd Stones

If you like the idea of practicing wiglung with rune-like symbols but do not have the interest or inclination to master the runic mysteries, I have found wyrd stones to be a very effective tool for sortilege. These are stones painted with fourteen symbols, plus one (sometimes two) additional stones to represent the querent. These stones and their symbols have been called various names. I have heard them called Witches’ Runes, Dana Corby has called them the Runes of Njord, and P. M. H. Atwater refers to them as Goddess Runes. Some of the symbols are actual runes, and one appears to be an astrological symbol. I have seen the remaining symbols in Koch’s The Book of Signs (Dover, 1955), but he unfortunately gives no sources. I call them wyrd stones.

I strongly suspect this set of symbols is Wiccan in origin. The symbols feature a heterocentric imagery reflecting the duotheist male/female construct that is fundamental to Wiccan belief. Duotheism is not found in Saxon tradition, but I believe the wyrd stones are effective enough as a divinatory tool to warrant their inclusion in this book.

The symbols are painted on small, smooth river rocks. I suppose they could be engraved or painted on other materials, but I have never seen them on anything other than stones. You will need fifteen small stones of similar size. The extra stone represents the querent, the person who is the subject of the wiglung. This stone is left unmarked. Some people use two querent stones—a spherical stone for a female querent, and an elongated stone for a male querent. This was how these divinatory stones were presented to me, and it supports my theory that the divinatory system is Wiccan in origin. The religion of Wicca divides the universe into male and female “energies.” Thus it makes sense, in that context, to have two separate stones to represent these energies. But for the Saxon sorcerer, the querent stone serves only one purpose: to represent the subject of the wiglung. Since there will be only one subject for any casting, one stone serves this purpose regardless of the sex of the querent.

Do make sure all fifteen stones are roughly the same size. Flattened stones work better than spheres, which can roll a great distance when cast. The stones should also be a similar color. Choose a paint that contrasts with the stones—a dark paint for light stones, or a light paint for dark stones. Paint fourteen of the stones with these symbols:

Man, Male

In form this symbol is identical to the rune eolh, but in this set of images it has an entirely different meaning. When casting wyrd stones, this symbol represents an adult male human. By “adult” I mean physically mature. It could be an adolescent, but it never represents a prepubescent boy. In the imagery used on wyrd stones, the symbol seems to be depicting a man standing upright with his arms outstretched.

The presence or influence of a man is indicated wherever this stone falls.

Woman, Female

This symbol represents an adult female human. As with the male symbol, this could indicate an adolescent, but not an undeveloped child. Here we have one of Koch’s symbols of unknown origin. It is probably intended to depict a woman in a skirt. While it is admittedly useful to know whether the wyrd stones are referencing a man or a woman, the emphasis on gender in the symbols again suggests a Wiccan origin. It would be just as useful, if not more so, to know if the person was blond or brunette, fat or thin, young or old, etc. Wyrd stones ignore these other characteristics, but alert us to the gender of whatever person the stone represents.

The presence or influence of a woman is indicated where this stone falls.

Love, Balance

Here we have something like a bindrune incorporating the previous two symbols. Man on top of woman. This image depicts love, in a rather obvious and carnal way. If we accept Wicca as the most likely origin of these symbols, then it should come as no surprise that this particular symbol indicates not just physical, heterosexual coupling, but also harmony, peace, and general warm fuzzy stuff. Traditional Wiccan rituals include the symbolic coupling of a male and female, represented by lowering the blade of a knife into the well of a cup. The meaning of this act—of the male/female union—goes well beyond the obvious benefits of species reproduction and the fertility of the soil; it is nothing less than an act of magic, creating a balance of male and female “energies,” which is believed, in Wicca, to be the source of all blessings.

Wherever this stone falls, it indicates that things are going well. There is a suggestion of a state of harmony or balance.

Family, Tribe

You know what often happens after vigorous sessions of physical coupling. In this image the man is still on top of the woman, but now there are two little circles to feed, burp, and change. This image, the symbol for family, can represent children. The circles are as yet undefined, neither fully male nor female (because they are not grown). But more than this, the image represents the tribe. It is the social unit. This could be a nuclear family, but it could as easily be a family of choice, such as a coven, kindred, or grove. Whether the social unit is of blood or of choice, this symbol represents what the Saxon would call an inhíred (in-HEER-ed).

The family is usually a factor wherever this stone falls. It may also indicate a prepubescent child of either sex.

War, Conflict

Here we have two “man” symbols leaning in toward each other. Butting heads. No, they are not kissing—remember, the imagery on wyrd stones is entirely heterocentric. The men are fighting. This is the symbol of war. It represents conflict and aggression. The conflict is not necessarily physical in nature, but there is some struggle or confrontation involved.

This stone indicates a fight or some similar conflict.

Home, Traditions

Now we leave the little stick men and women and move on to other symbols. This image represents the home. On a more metaphysical level, the triangle represents creativity and the horizontal line beneath it represents grounding or centering. The home is not the same thing as the family. The family or tribe is the people. This image represents the physical sanctuary, the nest. It also represents all of the customs and traditions associated with the home.

The home is important wherever this stone falls.

Confusion, Disorder

This image is a triangle collapsing on itself. According to Koch (p. 8) it is symbolic of “disordered intellect,” in contrast to the perfect triangle representing creativity or “creative intellect.” This symbol indicates confusion and chaos. There is no obvious conflict here. It may indicate depression or sorrow, if this is severe enough to cause disorder.

This wyrd stone indicates a state of confusion.

Money, Career

This image, painted on a wyrd stone, indicates money. I do not know where the connection comes from. Koch does not ascribe that meaning to the symbol. As an astrological symbol, it represents the sun. As a botanical symbol, it represents an annual (a plant that lives only one year). But on a wyrd stone, it represents money. It may also indicate a person’s job or occupation, since that is where the money comes from. Atwater (38—39) claims that it can indicate the ego.

Money is indicated by this stone.

Challenges, Interruptions

Here is the symbol for interruption. You may notice that it bears a resemblance to the níed rune. The upright stroke is broken or interrupted by two shorter strokes. Like war and confusion, this is a bad wyrd stone. It is a warning. There is no real conflict or confusion, but something is going to interrupt the querent’s life. It usually indicates something that can be avoided if the querent is careful and anticipates the potential problem.

Where this stone falls, expect some unwanted interruption.

Fire, Inspiration

We have returned to the rune-like images familiar to the Futhorc. In both the Norse and the Icelandic Rune Poem, this symbol represents a scab or sore, but the corresponding rune in the Anglo-Saxon Rune Poem represents a pine-fire. Fire is the mystery here. Among the wyrd stones, this fire is more symbolic, indicating divine inspiration rather than a physical flame. For example, the fire symbol falling adjacent to the home symbol does not mean your house is going to burn down. Its proximity emphasizes the home symbol, giving the latter more significance and power.

This stone inspires or emphasizes the importance of any other stones it falls near.

Happiness, Contentment

Here we see the form of the wynn rune, and this wyrd stone conveys a similar meaning. This is a rune of comfort and contentment. Like the love symbol, this is a generally good image. Unlike the love symbol, this symbol of happiness does not necessarily indicate a state of balance or harmony. Falling adjacent to the war symbol could indicate a conflict that the querent has been looking forward to. Next to the interruption symbol, it indicates that the querent will be content overall despite the problem.

This stone indicates happiness or comfort.

Gift, Reward

This symbol has the same form as the gyfu rune, and a similar if simpler meaning. On a wyrd stone, the symbol indicates that a gift is coming. The gift need not be something physical; it could be any kind of reward or pleasure. This could be a raise, a letter from an old friend, or an inheritance. Although the Anglo-Saxon rune indicates partnerships, the symbol does not carry the same meaning here. Partnerships are acknowledged by the family/tribe symbol.

This stone indicates something good is coming.

Growth, Possessions

The growth symbol resembles the ethel rune, but has a different meaning. On a wyrd stone, the image represents expansion or acquisition. Like the gift symbol, this is a good image, but it does not represent something coming to the querent—it is something that the querent is building or nurturing himself. It can also indicate acquired possessions. Not finances, which would be represented by the money symbol, but personal belongings or anything the querent has collected.

This wyrd stone means growth.

Change, Death

The last of these symbols again resembles a rune—this time the éoh rune—but has its own meaning. As a wyrd stone, the image means death or transformation. It is a symbol of change. This is not a trivial change, but something memorable and profound. No change is as profound as death, but the symbol much more often indicates a some other kind of change. What sort of change depends on which stones fall adjacent to it.

Wherever it falls, this stone indicates change.

You may want a pouch or small box to hold your wyrd stones. Mine are kept in a sturdy denim pouch when not in use.

Wyrd stones are never drawn, they are cast collectively. I ask for Woden’s guidance before casting the stones. Take the stones in both of your hands and formulate a clear question in your mind. The stones often want to tell you something unrelated to your question, but they work best if you give them a starting point.

Drop the stones and let them fall where they may. As with casting the Futhorc runes, you should now look for patterns. In particular, look for patterns in relationship to the blank querent stone. It does not matter if a stone lands face up or face down. If you cannot see the symbol, turn the stone over so it is visible.

Look for the same patterns that you would observe when casting the Futhorc: solitary stones, clusters, lines, and crescents. But always interpret these in relationship to the querent stone. A cluster near the stone indicates an important influence. A distant cluster is only a minor, passing influence. A distant solitary stone should be ignored. It has removed itself from the configuration.

The linear statement given in a row of stones should be “read” beginning with the stone closest to the querent stone, moving outward until you come to the most distant stone.

You will find that wyrd stones are easy to master with only a little practice.

Seething

Some wyrdworkers eschew symbolic constructs altogether and practice wiglung by traveling “between the worlds.” The wiglere goes into a trance state to gather information or commune with other wights (spirits).

There is nothing unnatural or even extraordinary about trance. Most people enter trance states numerous times throughout each day. We usually are not aware of this if the trance only lasts a few seconds, but occasionally we notice. When this happens we are likely to say that we “drifted off,” “zoned out,” or that our “minds were elsewhere.”

These ordinary trance states happen by chance. In contrast, the wiglere intentionally induces trance. This process is called “seething.” The Old English verb séoðan means to boil or cook, just as most people use the modern word seethe, but it also means to prepare or “feed” the mód (mood). Only when the mód is in the proper state can the wiglere journey beyond his physical body. To use a Freudian term, the ego is set aside during the seething.

There are different ways to induce trance, but all of them open the practitioner to outside influences. This is not as dangerous as it may sound. The hama (astral shield) continues to afford protection from malevolent wights when you enter a trance state. Otherwise we would all soon be possessed by spirits, since we naturally go in and out of brief trances throughout the day. Nevertheless, it is a good idea to set up wards or protections before inducing any prolonged state of trance. You can do this with impromptu rune work, using the eolh rune as described in the Rúncræft chapter. Remember that you will be using the phrase eolh weardath mé. Take up your seax—your ritual knife—and make a long, downward motion in front of you. See a crackling fire or light stream from the tip of the blade, hovering in the air as you say in a commanding voice, “Eolh!” Still visualizing this vertical line of fire, mark the two shorter strokes of the eolh rune, moving upward and out from the vertical line. Again visualize the crackling fire streaming from the tip of your blade. With the motion of your seax, push away any malign forces as you say, “Weardath mé!” The power of the rune will guard you during your work.

You may want to use a protective amulet instead of or in conjunction with this impromptu charm. If you have a talent for working with runes, craft a bindrune or helm that you can wear as a pendant during your trance work. If you find yourself drawn to wortcunning, sew protective herbs in a small pouch to wear in the same way.

After taking reasonable precautions, burn a pinch or two of dried artemisia, preferably mugwort or wormwood. This will help prepare your mód. The artemisias are sacred to the god Woden, who travels between the worlds. Burn the artemisia over a smoldering coal in a sturdy incense burner.

Find a comfortable place to sit. You want to sit in an upright position, rather than lay down, to ensure that you slip into a trance and not into an actual sleep state.

Some wigleres make use of a staff when they journey. (Construction of the staff is described in the Tools chapter.) The base of the staff is thrust firmly to the ground, and the shaft grasped with both hands. This helps the lic (body) remain centered and connected to the earth. Symbolically the staff represents the Eormensyl, the Axis Mundi that connects the Seven Worlds.

Another technique used by many wigleres is covering the head loosely with a cloth. This blocks outside distractions and symbolically sets the wiglere apart from the physical realm of Middle Earth. Those who favor the technique often have special cloaks they use for this purpose. When ready to begin the journey, the wiglere pulls the cloak over his or her own head. The cloth, however, does not need to be a cloak. Any loose cloth large enough to cover the head and shoulders of the wiglere will suffice.

Now you are sitting, some artemisia burning on a coal, perhaps with a staff held upright in your hands. Perhaps a cloak or cloth covers your head. You are prepared to begin your journey. There are different techniques you can use to induce trance, but one of the most common is to focus on your breathing. Your breath is the æthem, the force that binds the nine parts of your Self—the lic, hyge, myne, mægen, hama, wód, mód, willa, and fetch—together as one whole being. By focusing on your æthem, you can relax it and extend your perception beyond the ordinary.

Breathe in through your nose to the count of four. Then hold the breath to another count of four. Release the breath, this time through your mouth, to a count of four. Repeat this, keeping count as you breathe in, hold, and release. There is nothing special about counting to four. If this is uncomfortable for you, try changing it to a count of three or five. All that matters is that each part of the breath—inhaling, holding, and releasing—follows the same count.

After a while you should feel yourself relax and the world fade around you. At this point, be mindful of any perceptions you may have but avoid analyzing them. Some wigleres find it helpful to look for a path. This is not necessarily a visual experience, although it can be. You may sense the path in other ways, perhaps as a cold sensation, or as a scent or even just a feeling. Let yourself follow the path. Do not force anything. Allow your definition of Self, your mód, to move along the path if it will. Go no farther than you feel comfortable.

I cannot tell you what to expect after this. It is your journey, after all. Keep whatever question you have firmly in mind. Then experience what you will, and keep as much of it in mind as possible. Do not analyze any experiences you have. Later, after the seething, you can analyze all of it, but do not confuse your assessment with the actual experience.

Let us say, for example, that you see yourself passing through a meadow. As you go on your way, a striped gray cat approaches you. It may be tempting to think of the cat as a messenger sent by the goddess Fréo, to whom cats are sacred. And this is one possibility, but that is your assessment, which may or may not be on target. The cat could be something else entirely. It could be your own fetch (guardian spirit) if you do not yet know how this manifests. Or it could be someone else’s fetch. It could be an elf in the guise of a cat. For that matter, it could just be a cat that has run through all nine of its lives.

Do not assume everything you meet “over there” is your good buddy. I do not understand people who think like this. I am not suggesting you be unduly concerned, but spirit entities are persons, and like any other persons, they can be good, bad, or indifferent. Exercise reasonable caution around any presence you encounter until it proves itself to be benevolent or at least neutral. If seriously threatened, which is not very likely, use your knowledge of runes and galdor to ward off the assailant.

Let me emphasize again that there is very little danger in seething. As I have said elsewhere, you simply are not that important. Unless you give a spirit entity cause to fight you, very few will exert that much effort in your direction.

To return to a fully conscious state, some wigleres like to retrace their steps. Simply go back the way you came. Alternately, use your æthem to draw your mód back. Take a deep breath, and then another, until you have pulled yourself together. You may feel disoriented after the first few times you do this. It is a good idea to eat something and have a refreshing drink to help ground you in the physical world. After you have returned and are fully grounded, feel free to analyze your experience. Since this was an exercise in wiglung, the important consideration is whether or not you received an answer to your question.

This is an effective process for inducing trance to practice wiglung, but it is not the only process. Some wigleres with musical talent may design songs and induce trance by singing galdor, while others have found that drumming helps them reach out beyond the ordinary. Saxon sorcerers develop personal styles of magic that work best for them.

Scrying

If you like the intuitive approach to wiglung but find the seething process reminds you too much of a séance, consider scrying as a wiglung art. Scry is a short form of the verb descry, meaning “to catch sight of.” When scrying, the wiglere perceives visions while gazing at a reflective or flickering focal point. This can be a pool of water, a crystal shard, a crystal ball, a mirror, or a flame.

The early Saxon sorcerers almost certainly made use of scrying techniques. There are examples of scrying throughout English folklore, usually involving water in some way, and usually connected with romantic or marital inquiries. Unmarried girls knew of a scrying spell to discern who their future husbands would be. The girl had to set a bucket of water out in the yard at midnight. On the following day, at noon, she could gaze into the bucket to see the face of the man she would marry.

There is no special trick to scrying. You either have a talent for it or you don’t, and only practice will prove that talent. With practice, though, comes the inevitable personalization that a Saxon sorcerer will apply to his or her work. A friend of mine, Deana Isendun, gives a prayer and an offering—usually herbs or incense—to the gods before scrying. For her, scrying is simultaneously an act of magic and a part of her devotional practice.

Try different focal points to find what works best for you. Modern “crystal” balls are usually made of acrylic, but do not be dissuaded by this. The acrylic ball often serves as a better focal point than a sphere of true crystal, which is rarely without noticeable flaws. If you want to work with true crystal, try scrying with a large quartz shard. Or try a true crystal ball, but be forewarned that these are expensive.

Any mirror can be used for scrying, but wigleres who specialize in this art frequently prefer special scrying mirrors. A scrying mirror is a piece of glass painted black on one side. This creates a smooth, reflective surface without the distractions captured in an ordinary mirror. A frame for the scrying mirror will help protect it from breakage.

Maria Stoy, the spiritual leader of an ecumenical Pagan group in western Pennsylvania, uses nothing more than a bowl of water for scrying. She believes that the water, “because it travels through the worlds from underground to the surface to the sky and back again,” gathers and contains the knowledge she is scrying for. She says that the surface of the water becomes “a window” for her. Maria explains:

Once I am focused and calm, I imagine or allow the water in my bowl to become sacred waters, connected to all worlds. I keep my focus on the water, casting my attention down into the waters, allowing my mind and spirit to be receptive of messages I may receive. I tend to see images floating from the bottom of the bowl to the top and then dissipating. Some folks see a mist gather on the water that forms images.

When I feel the message has been received I take a moment to try and organize what I have seen into a coherent thought or message. Sometimes the meaning is obvious, sometimes it takes a while.

Fire, too, can be used as a focus for scrying. Deana uses fire as her focus. “I can scry in as little as a candle flame,” she says, “but it is easier with a larger fire, such as a campfire.”

Whatever focus you decide on, sit comfortably if you can and gaze into it. Let the visions come to you naturally. It may take some time before you see anything, and you may not see anything at all the first few times you attempt this. People who use a bowl of water or a scrying mirror often speak of it “clouding over” before visions appear. This, of course, is their subjective perception, but if you experience this you can take it as a sign that you are beginning to master the art of scrying. Deana explains:

I stare into the fire until the flames begin to make patterns and images. As I recognize the images, I begin to interpret what those images mean. If I am having difficulty “seeing” any patterns or images, I usually put more offerings into the fire. I have also found that closing my eyes for a few moments helps clear my vision if I am having any difficulty. When I reopen my eyes, the vision is often much clearer.

Deana also believes, and I concur, that it is better to practice this art alone before attempting it in the presence of other people. Even a few people can be a distraction, and the first thing a person must do while scrying is try to block out all outside distractions. Maria warns, “Scrying can be a much more subjective method of seership than using runes or another ’closed’ symbol set. For me it works really well in personal practice.”

Do not be concerned, though, if you have little or no talent for scrying. Consulting the runes, casting wyrd stones, seething, and scrying are all very different approaches to wiglung, and each is suited for people with different ways of functioning. Few people are going to be proficient with all of these modalities. Equally few will be unable to master even one of them. If the runes work best for you, stay with runic wiglung. If you enter a trance state at the drop of a hat, seething may be a better approach. The very best modality is the one that works for you.

Review

1. What is sortilege?

2. What are the two basic approaches to consulting the runes?

3. Although wyrd stones can be a useful tool for the Saxon sorcerer, what is their probable origin?

4. Why do some wigleres cover their heads with cloaks or cloths while seething?

5. Name three focal points that can be used as tools for scrying.