Get the Look: The Norns

The Norns are fate goddesses in Old Norse mythology, responsible for determining the fate of humans. In the Völuspá, three Norns—Urðr (Wyrd), Verðandi, and Skuld—draw water from their sacred well to nourish the Yggdrasill, the tree of life and protect it from decay. These powerful virgin giants (Jotuns) from Jötunheimr marked the end of the golden age of the gods. In the Vafþrúðnismáll, they are also described as maidens of Mögðrasir.

The Norns visit newborns to determine their fate. They can be both malevolent and benevolent; one brings disaster, while another offers protection and prosperity. Moreover, they are responsible for the care of Yggdrasill, the tree of life, which is associated with the immortal soul and the role of each mortal within the cosmos.

In Old Norse tradition, there is no sharp distinction between Norns, fylgjas, hamingjas, valkyries, and the general term dísir. Artistic liberties in Old Norse poetry allow such terms to be applied to mortal women as well. Snorri Sturluson states in Skáldskaparmáll that women can be metaphorically referred to by the names of Asynjur, valkyries, Norns, or other supernatural beings. The unclear boundaries between the Norns and other Germanic female deities are extensively discussed in Bek-Pedersen'ss work Norns in Old Norse Mythology.

In Norse mythology, the term dís (Old Norse for "lady", plural dísir) refers to a female deity, spirit, or entity often associated with fate, similar to the Norns. These figures can be both protective and hostile towards mortals. The dísir are often seen as guardian spirits of Norse clans and may have originally been fertility goddesses. They were worshipped in both private and public rituals, known as dísablót. Their veneration may stem from a cult surrounding the spirits of the dead.

In Norse texts, the dísir are often described in collective terms and function as synonyms for other supernatural beings, such as valkyries, Norns, and vættir. Some scholars suggest that the North Germanic dísir are related to the West Germanic Idisi, given the mythological and linguistic similarities, although there is little direct evidence from Anglo-Saxon and continental Germanic mythology. In Norse texts, the dísir often fulfill similar functions as fylgjur (guardian spirits), valkyries, and Norns, suggesting that dísir may be an overarching category for various beings.

Jacob Grimm notes that the term dís in Old Norse appears related to the West Germanic Idisi, pointing out the loss of the initial letter "i-" in Old and Proto-Norse. He compares the dís Skjöldunga from the Eddic Helgakviða Hundingsbana II with ides Scildinga from Beowulf and suggests that the name Iðunn may be a derivative of the original form of dís.

According to Simek, the dísir can be seen as part of a broader belief in female (semi-)deities, similar to the valkyries, Norns, and matrons. The matrons, who served as fertility goddesses, personal protectors, and war goddesses, illustrate the versatile role of these female beings. This suggests that the dísir are part of a larger group of divine or semi-divine female entities with diverse responsibilities and powers.

In many literary works, the dísir are equated with other female beings, such as the Norns, who govern fate. Although the dísir give an impression of great antiquity, their significance in the oldest preserved texts seems to have faded, causing their original meaning to be largely lost.

Women are often metaphorically referred to in literature with names of supernatural female figures, such as the Ásynjur (female goddesses), valkyries, Norns, or other spirits. In various Edda poems and kennings, the generic term dísir is often used instead of more specific terms such as Norns, fylgjur, and valkyries.

The Celtic and Germanic Matres and Matrons are female deities who were worshipped between the first and fifth centuries AD in Northwest Europe. They are almost always depicted in groups of three on votive offerings and altars, often accompanied by inscriptions. About half of these inscriptions contain continental Celtic names, while the other half concern Germanic names. These deities were worshipped in regions such as Germany, Eastern Gaul, and Northern Italy. The Matres and Matrons are often associated with later Germanic figures such as the dísir, valkyries, and Norns, which are suggested to possibly be derived from them.

Comparable Fates, such as the Norns, also appear in Greek mythology. The Moirai, consisting of the three sisters Clotho (the spinner), Lachesis (the allotter), and Atropos (the inevitable, symbolizing death), were tasked with ensuring that every being, both mortal and divine, followed its destiny according to universal laws. For mortals, this destiny was often depicted as a thread spun by Clotho.

Their Roman equivalents were the Parcae. The concept of a universal principle of natural order and balance in Greek mythology is often compared to similar concepts from other cultures, such as the Vedic Ṛta and the Avestan Asha (Arta).

These goddesses were responsible for recording the metaphorical thread of life of every being, both mortal and immortal, from birth to death. Even the gods feared their power, as they determined fate. According to some sources, even Jupiter, the supreme god, was subject to their influence and could not escape the fate set by the Parcae.

Laima is a Baltic goddess of fate, associated with birth, marriage, and death, and serves as the protector of pregnant women. In Latvian mythology, Laima, together with her sisters Kārta and Dēkla, forms a triple Fate Goddess. Laima is the most prominent of the three and responsible for the ultimate fate of individuals. While Laima is mainly associated with luck, mothers, and childbirth, Dēkla is concerned with the care of children, while Kārta governs the lives of adults. In modern Dievturi, these three goddesses are considered different aspects of the same deity.

In Lithuanian mythology, Laima can sometimes be confused with Laimė (luck) and Laumė (fairy). Other related deities include Dalia (fate) and Giltinė (death). An important function of Laima is predicting the fate of a newborn, with her pronouncement being irrevocable. Sometimes Laima operates alone, while in other cases she makes three different, sometimes contradictory, predictions together with her sisters.

The Norns consist of Urðr (that which has happened, the Old English Wyrd), Verðandi (that which is happening) and Skuld (that which must be). This often leads to the belief that they refer to past, present, and future, although this is not definitive. They spin the threads of life at the source of the world tree Yggdrasill.

A verse from the Poetic Edda describes how the Norns “with strength wove the web of fate.” This implies that the Norns not only determine the fate of individuals but also events that affect the community, such as the fate of a city. This idea could form the basic for the later neopagan concept of the Web of Wyrd.

The Greek Fates, the Moirai, consist of Clotho (the 'spinner'), who spun a person's life thread; Lachesis (the 'allotter'), who measured the thread; and Atropos (the 'inevitable'), who cut the thread. The idea of moira concerns what someone is rightfully due in life, such as happiness, success, or resources. When someone received more than they were entitled to, it was seen as a disruption of the natural order. Although it was possible to receive more than your fair share, this often led to severe punishments or negative consequences, as it went against the balance and rules of life. This can be seen as a form of adharma.

The concept of the Fates is related to niyati, which describes the course of events as predestined and fixed. Additionally, it shows how the individual (the atman) relates to the whole (the brahman).

The cosmic order refers to the natural course of events within the universe. In Vedic thought, this order is referred to as Rta, while the Greeks described the concept as Kosmos, derived from the Proto-Indo-European *h₂r-tós (Xartus). Rta is a dynamic cosmos in which both physical objects, such as celestial bodies, and abstract concepts, such as moral development, are constantly in motion (gati). All elements of the universe work harmoniously together according to this cosmic order, also known as samghatna. Both nature and social structures function in balance thanks to the power of Rta.

The course of events is governed by inevitable laws of cause and effect. The Greeks called this Logos and based their philosophy and science on this 'logic'. People find their true fulfillment by acting in accordance with the laws of Rta. Ignoring these laws leads to chaos and suffering. To ensure well-being, it is necessary for individuals to align their actions with this cosmic order. This process is referred to as dharma, derived from the Proto-Indo-European *dʰer- ('support, hold').

Dharma encompasses the principles and rules that support the Rta. Not adhering to these laws results in adharma, which causes disturbances in the natural balance and leads to misery and adversity.

The Greek word kosmos literally means "order" or "ordered world" and contrasts with chaos, which refers to disorder or the original primordial state without structure.

The fate goddesses—the Norns, Matres, and Moirai—guard this cosmic order.

The origin of the name "norn" is uncertain. One possibility is that it derives from a word meaning "to twine," which could refer to the spinning of the thread of fate. Bek-Pedersen suggests that "norn" is related to the Swedish dialect word norna (or nyrna), meaning "to communicate secretly." This could depict the Norns as dark figures who reveal fate only as it unfolds.

The name Urðr (Old English: Wyrd) means "fate." Although Urðr and Wyrd are etymologically related, they may not always share the same meaning. Urðr and Verðandi are derived from the Old Norse verb verða ("to become"), which traces back to the Proto-Germanic wurdiz and the Proto-Indo-European wrti- ("to turn"). It is often assumed that Urðr refers to the past ("that which happened"), Verðandi to the present ("that which is happening"), and Skuld, derived from Old Norse skulu ("must"), to the future ("that which will happen"). However, there is debate over whether these names truly imply a chronological timeline, as the words themselves in Old Norse do not denote specific time periods.

In this composition, the appearance of the Norns Urðr, Verðandi, and Skuld is reconstructed based on basic from mythological traditions. Since there is limited information available about their physical characteristics, we have made connections with similar traditions that, in our view, are related to the Norns. This has allowed us to bridge the gap to make their representation more complete. We have drawn parallels with the Germanic Matres and the Greek Moirai, among others.

This composition is also ideal if you are looking for a white, magical, or mythological look. We have maintained a historical approach in these looks as much as possible. Therefore, these outfits are also very suitable for use by priestesses. White stood for beauty and virginity. Free from external influences. Tacitus noted that Germanic priestesses were always dressed in the white during the ritual. White and beauty stand for cosmic order. 

Urðr, which means "fate" in Old Norse, is one of the three Norns, alongside Verðandi and Skuld. She is mentioned in the Völuspá and Gylfaginning of the Poetic Edda. Urðr is located, along with the other Norns, at the well Urðarbrunnr beneath the Yggdrasil in Asgard. Here they spin the threads of life and determine the fate of humanity. Traditionally, Urðr is assumed to represent the past. In some English translations, she is also rendered as "Wyrd," the Old English term for fate.

In the Germanic and Celtic tradition of the Matres, she is often depicted with a horn of plenty, or agricultural products. We have depicted Urðr with a large cauldron that stands for (re)birth and symbolizes the beginning of life. 

Urðr wears in this composition an underdress and over it a dress.

Around her belt, Urðr wears a Viking work knife. Knives like these were often worn by Viking women. 

In this composition, Urðr is wearing Viking shoes. During the ritual, she will probably be barefoot to make more contact with the earth, which stands for the cosmos. 

Urðr wears a beautiful luxury Viking belt to reflect her wealth. 

During certain rituals, Urðr wears a headkerchief. The headkerchief symbolizes the recognition of the divine above the mortal.

In Norse mythology, Verðandi (Old Norse for "happens" or "present") is the second Norn who, along with Urðr and Skuld, weaves the threads of fate. The name Verðandi is the present participle of the Old Norse verb verða, which means "to become." It is usually translated as "in the making" or "that which happens," and is related to the Dutch worden and the German werden.

Verðandi weaves fate with her spindle. This is evident in the tradition of all Indo-European Fates. The spindle we have used is a replica of an original from the Viking era.

Verðandi also carries a loom that is reproduced from an original from the Viking Age.

Verðandi carries a Viking bag that is based on an original found in the Viking town of Haithabu.

Verðandi wears a dress and underneath it an underdress. This way her outfit is layered.

In this composition, Verðandi wears a luxurious Viking belt

Verðandi wears Viking shoes that are based on fragments found in the Viking ship grave of Oseberg.

During some rituals, Verðandi wears a headkerchief. The headkerchief represents recognition of the divine over the mortal.

Skuld, meaning "debt" or "obligation," is the third Norn who weaves the fate of humans. Her name shows etymological relation to the English should. Besides her role as a Norn, Skuld also appears in at least two poems as a valkyrie.

Skuld wears a dress and beneath it an under dress. This layers her outfit.

Skuld wears a Viking belt, which ensures that her dress stays in shape. Skuld also hangs objects she needs daily on her belt. 

Skuld wears a Viking bag that is made after an original, found in the Viking city of Birka.

During certain rituals, Skuld wears a headkerchief. The headkerchief symbolizes recognition of the divine over the mortal.

Skuld wears shoes that are based on historical originals.

With her scissors, Skuld cuts the threads of fate. When the thread is cut, the person dies.