Fate was a powerful concept in Viking culture. The Norsemen believed that the Norns, the Norse Fates, appeared when a baby was born and began their string of fate. The moment their string would be cut was already determined from this moment.
The Norns – The Norse Fates
In ancient Greece, the fates are known as the Moirai. Their equivalent in Norse mythology are the Norns.
The Norns were a group of divine spirits, and there were many Norns. There seem to have been fates linked with each of the different races that inhabit the nine worlds of the Norse cosmos. On various occasions, there are Norns described for the Aesir gods, the Vanir gods, the elves, dwarves, and men. Norns may have been responsible for the people of their own race.
In addition to this generalized group of Norns, there were three principal Norns. They are three sisters who live at the Well of Udr, the Well of Fate, at the base of Yggdrasil, the world tree. They take water from the well to nourish the tree and prevent it from rotting. It is also here that the sisters create fate. They are sometimes described as weaving fate on a loom and, at other times, writing it into the bark of Yggdrasil with the runes.
It is probably these three Norns that write the greater fate of all living things, while their lesser sisters deal with individual fates. The word Norn derives from the Old Norse word for twine and is probably a reference to their weaving.
The Three Sisters
According to one story, the three main Norns are giantesses, or the fates of the giants. When they moved from Jotunheim to the Well of Udr, they put an end to the golden age of the gods. It is not clear what this meant, but maybe the power of the gods was diminished as they took control of greater destiny. This could be by the gods can not avoid their ultimate destruction at Ragnarok.
The eldest sister is named Urd, whose name means “what once was”. In surviving sources, the word Urd is used interchangeably for fate and death, suggesting that the two were considered one and the same by the Vikings.
The middle sister is Verdandi, and her name means “coming into being”, and therefore things of the present. Her name also means birthing, perhaps suggesting a link between being born and the start of one’s fate.
The youngest sister is called Skuld, which means “that which shall be”. But her name also derives from the word debt and seems to carry connotations of things that one is answerable for, and which are inescapable.
This is an interesting inversion of Greek mythology, where the oldest fate is the future and death and the youngest fate is the past.
Weaving Fate
The Vikings believed that a Norn visited a person when they were born, and at that moment, decided how long the person would live, the length of their life string.
The Vikings believed that the moment of their death was predetermined and could not be avoided. But while they could not control when they died, they could control how they died, and the Vikings believed that it was necessary to face death with bravery. Through their bravery, they might find themselves in an afterlife like Valhalla, where they would live alongside the gods, and then join them in the final battle at Ragnarok.
But while the length of a person’s life is predetermined, not everything that will happen in their lives is static. The Norns are described as constantly weaving, changing fate as different strings cross one another. In this way, one’s actions can change the course of one’s life, though not the end of it, and a Viking would strive to plot a strong and gleaming path across the tapestry of destiny.
This is important not only for them individually but also for their descendants, as the position of their string determines the starting point for their descendants. This is why the sagas almost always begin with an account of the great deeds of the ancestor of the hero because this is an essential part of the hero’s story.
Malevolent Fate
Despite being giantesses, the Norns are not described as malevolent. Nevertheless, it is not uncommon to hear the cruelty of the Norns blamed for some of life’s challenges.
In Helgakrida Hundingsbana II, Helgi blames the Norns for the fact that he must kill Sigrun’s father and brother to be able to marry her.
The dwarf Advari, who is robbed of all his treasure by Loki, blames fate for this cruel predicament before cursing a ring, the finest treasure in his collection, when Loki takes it.
The Valkyrie Brynhild blames the Norns for her ongoing yearning for Sigurd and the fact that she prefers him to die than not be together.
Seidr Magic and Fate
In the Fanismal, the dwarf-turned-dragon Fafnir warns of the futility of challenging fate, describing it as like rowing a boat into a fierce wind. But this does not mean that there is no way to change fate.
Seidr magic works by influencing fate. The word Seidr can mean to tie or tether and refer to a rope or string. The female practitioners, Volva, also carried a distaff as a kind of magic wand, the same tool used in spinning. All of this suggests that they are tapping into the tapestry of destiny.
Odin himself is a master of Seidr magic, and he learned the practice from the goddess Freyja, who is one of the Vanir gods. While the Aesir are strongly linked with ideas of order and control, the Vanir are linked with a more free-spirited approach to life. Perhaps this makes them particularly suited to surfing the inevitable changing waves of fate.
Rune magic may also have been linked to tapping into and changing fate. It is said that Odin saw the Norns using the runes in their home and the base of Yggdrasil and was jealous of the knowledge. He hung himself from the tree for nine days and nine nights while pierced by his own spear to learn the secrets of the runes, which he then shared with mankind. We hear of many Viking warriors who were also runemasters.
Therefore, it seems highly possible that rune magic also works by changing fate. Again, it can probably not change the final end of a person’s fate, but it can change the course of their weaving.
The Norse Soul
Understanding the Norse idea of fate is essential to understanding the Norse soul. The soul was not a singular, unified entity but a composite of various elements, each with its unique role and characteristics. In fact, the old Norse word for soul, sál, was only created after the Vikings started to convert to Christianity.
Fylgja: The Guardian Spirit
The Fylgja, translating to “follower,” is a personal spirit. It appears in an animal form that reflects the character and destiny of the person it follows. In some narratives, it appears in human form, often as a female figure.
The Fylgja is not only a guardian but also a part of the person’s spiritual essence. It is closely linked to the individual’s fate, foretelling significant events or death.
The Fylgja appears in several Norse sagas and texts. In Njál’s Saga, the Fylgja manifests in dreams or visions, often predicting future events or calamities. For instance, a character dreams of a group of women entering the house, with one of them, interpreted as a Fylgja, predicting the burning of the house.
In Egil’s Saga, Egil Skallagrimsson encounters visions of his daughter’s Fylgja, described as a large, grim-looking woman, which is an omen of the daughter’s impending death. In Grettir’s Saga, Grettir Ásmundarson experiences encounters with various fylgjur, which often appear as foreboding signs or representations of familial fate.
The appearance of one’s Fylgja, especially during the day or to others, was considered a bad omen, usually signifying impending death or misfortune.
In some Norse beliefs, the Fylgja was thought to be inherited, passing down through generations within a family, thereby connecting it to ancestral lineage and heritage.
Hamr: Physical Form
In Old Norse, ‘Hamr’ means ‘shape’ or ‘skin’. It signifies the physical form or appearance of a person and, more intriguingly, the ability to alter that form, a concept closely tied to Norse shapeshifting beliefs.
The ability to shapeshift was often seen as a sign of spiritual potency and was characteristic of certain legendary beings and skilled practitioners of magic.
The concept of the Hamr is vividly depicted in several Norse sagas. In the Völsunga Saga,Sigmund and Sinfjötli don enchanted wolf skins that transform them into wolves. This ability is pivotal to their adventures and reflects the deep connection between their physical forms and their inner natures.
In the Saga of King Hrolf Kraki, Björn, a prince, is cursed by his stepmother to become a bear. This transformation, tied to the concept of Hamr, illustrates the literal and figurative overlap between human and animal characteristics in Norse mythology.
In Egil’s Saga, Egil Skallagrimsson, the protagonist, is hinted at possessing the ability to change his Hamr, especially during his berserker rages, where his physical appearance is described as fearsome and more than human.
Warriors known as berserkers (bear-shirt) and úlfhéðnar (wolf-coat) in Norse culture are often associated with the concept of Hamr. They were believed to take on the qualities of bears and wolves, respectively, during battle, symbolizing the ferocity and strength of these animals.
The Norse also believed that the Hamr could leave the body during sleep or trance states, allowing the spirit to travel independently. This aspect underscores the fluid Norse perception of reality and the boundaries between physical and spiritual existence.
Hugr: Mind and Thought
The term ‘Hugr’, in Old Norse, is often translated as ‘mind’, ‘thought’, or ‘spirit’. It embodies the mental and emotional components of a person, including consciousness, thoughts, feelings, and desires.
Unlike the physical aspect of a person, the Hugr is intangible and closely related to one’s inner life and personality. It is also associated with the cognitive processes that guide behavior and decision-making.
References to the Hugr are found in several Norse texts. In Grettir’s Saga, Grettir Ásmundarson experiences profound moments of intuition and premonition, which can be interpreted as manifestations of his Hugr. These experiences provide insights into his character and foreshadow events in the saga.
In the Saga of the Volsungs, the thoughts and emotions of the characters, indicative of their Hugr, drive the plot forward. The internal struggles, particularly in the context of familial and romantic relationships, highlight the significant role of the Hugr in determining actions.
In Egil’s Saga, Egil’s complex personality, characterized by deep emotions and intellectual prowess, exemplifies the concept of the Hugr. His poetry, especially, is a direct expression of his inner thoughts and feelings.
The Hugr is often seen as interconnected with a person’s fate or destiny. The thoughts and desires that stem from the Hugr can lead to actions that shape an individual’s path in life.
In Norse belief, dreams were considered a manifestation of the Hugr, offering insights into a person’s deeper desires, fears, or premonitions about the future.
The Hugr was also associated with mental fortitude and emotional resilience. A strong Hugr was admired and seen as essential for overcoming challenges and adversity.
Hamingja: Luck and Fortune
The term ‘Hamingja’ in Old Norse is often translated as ‘luck’, ‘fortune’, or ‘fate’. It embodies the aspect of the soul associated with an individual’s or a family’s fortune and prosperity.
Hamingja is not merely about random luck but is seen as a tangible, influential force that can be strengthened, weakened, inherited, or even transferred. It is deeply intertwined with one’s actions and moral character.
The concept of Hamingja is evident in Norse sagas. In Njál’s Saga,Njál himself is seen as having strong Hamingja, which is reflected in his wisdom and the respect he commands. The saga also explores how actions and honor can affect one’s Hamingja.
In the Saga of the Volsungs, the varying fortunes of the Volsung family, including Sigurd’s rise and fall, can be interpreted through the lens of Hamingja. The saga suggests that Hamingja can be strong but is also vulnerable to the whims of fate and the actions of others.
In Egil’s Saga, the concept of Hamingja is evident in the portrayal of Egil Skallagrimsson and his family. Their varying fortunes, successes, and failures throughout the saga can be attributed to the strength or weakness of their Hamingja.
The Hamingja is closely connected to the idea of fate and one’s moral actions. It suggests that while some aspects of fortune are predetermined, actions and ethical conduct can significantly influence one’s Hamingja.
Hamingja was believed to be inheritable, passing down through generations. This aspect highlights the importance of family legacy and ancestral honor in Norse culture.
Sometimes, the Hamingja was thought to manifest physically, often as a guardian spirit or in dreams, providing guidance or omens.
The Web of Wyrd
The symbol of teh Web of Wyrd is often associated with the idea of Norse fate. it is a symbol of nine interlocking staves that are laid in a pattern to form a web. It seems significant that the symbol uses nine strokes since the number nine was sacred in Norse mythology. The most obvious example of this is the fact that the Norse universe contained nine worlds, and Odin hung from Yggdrasil for nine days and nights to learn the secrets of the runes. Wyrd is an English word thought to be derived from the Old Norse term Urdr, fate.
The Web of Wyrd is also sometimes called the Hamingja Net or the Orlog Weave. But it is not an ancient Viking symbol. No examples of it survive from the Vikings world. Instead, it comes from modern occultism.
The earliest known depiction of the Web of Wyrd symbol, also sometimes known as Skuld’s Net, dates to 1993 in a text written by the German occultist Jan Fries called Helrunar: A Manual of Rune Magick. He doesn’t name the symbol or describe its purpose, but he may well have encountered the symbol in his engagement with 19th-century ritual magic groups. He was known to be greatly influenced by Aleister Crowley and the Ordo Templi Orientis.
The symbol is named a “web” by author Graham Butcher in 1995 in his publication Stav: The Fighting System of Northern Europe. He specifically says that the symbol represents the unseen web that holds everything in existence together. He also links the symbol to the Norse Runes, suggesting that the image contains all the runes.
The name Web of Wyrd was applied to the symbol later, though it is unclear when and by whom. The oldest surviving reference to the Web of Weird comes from the fictional work of the English author Brian Bates, in his 1983 novel The Web of Wyrd: Tales of an Anglo-Saxon Sorcerer. However, he does not mention a specific symbol in the work.
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