13th Century

In this saga, witchcraft is not spells and charms, but shapeshifting. In one section of the myth, a she-wolf eats each of the Volsungs over the course of a few days after they have been captured. She is said to be King Siggeir’s mother in wolf form (Rampton, 210). Wolves have been vaguely related to witchcraft in Western cultures, and this motif of wolves continues in another portion where Sigmund and his son Sinfjotli put on wolf skins that do not belong to them — they subsequently turn into wolves (Rampton 211). Other sections of the saga depict humans turning into otters, only to be killed and eaten by the gods Loki and Odin (Rampton 212). Shapeshifting is also seen between people – Signy and a witch-wife “change shapes with each other” (Rampton 211). In each of these examples, there is no consequence to shapeshifting and no outrage at it either – it seems to be a common theme within the saga, but also in Norse myth overall.

References to paganism are seen through interactions with gods in the myth. Odin appears early on, wearing a cloak and hat and carrying a sword (Rampton 209). Wearing a cloak, a garment long associated with witches, thus gives him a similar appearance. Again referencing the otter story within the saga, Loki, Hoenir, and Odin interact with Hreidmar (a sorcerer) and Andvari (a dwarf) as if they are not gods at all. After the former three kill Hreidmar’s son Otter, they repay him in gold as if he is a fellow god (Rampton 212). As in other Norse myths, gods are no different than those that are “below” them. This polytheistic and pagan association contrasts Christianity.

The Saga of the Volsungs shows two very important themes in depictions of Norse witchcraft – the inclusion of shapeshifting and references to gods. These set it apart significantly from traditional Christian understandings of witchcraft, and perhaps are the reasons that witchcraft is seen in a more positive, less controversial light. In these stories, there is no Devil to consort with and no spells to cast. Instead, magic is more or less a given. It is accepted as, at the very least, a part of folk tales and lore. It is possible that these myths were accepted as true events or fact, but at minimum magic is a respected part of Norse mythology and folklore. This greatly constrasts Western and Christian portrayals of witchcraft as evil, demonic, and wrong.

Beyond its relevance to Western and Christian understandings of witchcraft, it is interesting to also consider how Norse mythology’s respect for magic has been reappropriated by the West 800 years later. Gods referenced in this specific saga, such as Loki and Odin, have become recognizable comic book characters and members of the Marvel Cinematic Universe. They still retain their magical powers and allusions to the broader Norse mythology in these films – but it is evident that perceptions have changed enough to allow for these characters to be represented in the media today and not seen as heretics.