The second half of 2018 is going to be busy for me with published pieces being released, and since I often have people asking me what I have coming out and when I thought it might be helpful to recap here.
August 31, 2018 - Seven Ages of the Goddess. An anthology by Moon Books that features a series of articles from various authors each focusing on a different aspect of the goddesses in history. I contributed a piece to this focusing on goddesses hidden in folklore. The idea behind it is the way that some goddesses became folkloric characters as paganism shifted into Christianity in europe. There are, of course, many other interesting articles in here as well.
September 18th, 2018 - The Real Witches of New England: History, Lore and Modern Practice by Ellen Evert Hopman. I was interviewed for this book and am in a section of it discussing my particular kind of witchcraft and some of my thoughts on practicing and New England witchcraft.
September 28th, 2018 - Travelling the Fairy Path. The third book in my Fairy witchcraft series this book is also (as far as I plan anyway) going to be the final one. I do like things in threes. It takes a more personal look at my practice and is meant to be a more advanced book, focused on the actual practice of this type of witchcraft.
October 26th, 2018 - Pagan Portals the Dagda. My next Pagan Portals book ,focused on the Dagda, will be out this October. I'm very excited for this one as there just isn't anything on the market focused on this deity and he is such a fascinating and multilayered god.
There are a few other books coming out this year that I don't have release dates for yet. I contributed three pieces to a wonderful Dagda anthology that is on track to publish this year, but hasn't gotten a firm date for publication yet. My 7th novel is also nearly complete and should be out either late May or early June, but again I don't have a precise date yet.
Reflections on the Déithe and an-déithe, living Paganism in a modern world, and devotion to the Daoine Maithe
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Thursday, May 3, 2018
Thursday, April 19, 2018
Odin and the Wild Hunt - Excerpt from 'Pagan Portals Odin'
The following is an excerpt from my recently released book 'Pagan Portals Odin'
"The Wild Hunt
The Wild Hunt is a group of spectral horsemen who ride the air at night, accompanied by hounds and horses, and led by a fearsome Huntsman (or in some cases Huntswoman). The Hunt is found in several areas of Western Europe as well as America and who exactly they are as well as who leads them can vary depending on where they are, so that in Wales they are known to be fairies led by the God Gwynn ap Nudd, while in Norse lands they are the souls of dead warriors, or the dead more generally, led by either Odin or Odin and a consort (Jones, 2003). In the Germanic areas the Hunt is often led by Odin under the name of Wodan, or sometimes Frau Hulda, or both together, and parts of England by Herne. There has been some suggestion that Herne is either Odin in disguise or else if Herne is a purely literary character that his later development into a deity was heavily influenced by Odin (Ford, 2001). The hunt in Germany is also sometimes led by Frau Perchta, or Frau Gauden [Mrs. Odin], who led groups of dead children or witches through the sky (Berk, & Spytma, 2002). In the areas where it is led by Odin it may be called Odensjakt [Odin’s Hunt], Oensjaegeren [Odin’s Hunters] or Odin’s Army. Odin’s connection to leading the Hunt goes back in writing at least several hundred years and speculatively in oral tradition to the 13th century (Lecouteux, 1999).
The Wild Hunt is known to ride out at certain times of year, especially during Lent, which is usually March and April, as well as around Midsummer and Midwinter (Grimm, 1883). Meeting the Hunt was usually seen as a bad thing and people would flee indoors or avoid going out when the Wild Hunt was known to be abroad, because of the danger it represented, but it could also bring blessings to people who were clever enough to earn them. For example, in stories like “Wod, the Wild Huntsman” the protagonist meeting the Hunt is rewarded with gifts of meat and gold for his cleverness. Conversely offending the Wild Hunt might mean the person earning a more gruesome reward, such as the corpse of his own child or a severed human limb, while other times the Hunt would turn on the individual and tear them to pieces (Berk, & Spytma, 2002; Grimm, 1883).
The beings who make up the Wild Hunt itself in Norse and Germanic lands are most often the dead, often the battle dead who still appear to bear the wounds that killed them. These ghostly troops also included animals, particularly hounds and sometimes wolves, and horses that may have as few as two or as many as eight legs (Kershaw, 2000). It’s possible that these horsemen are the Einherjar, although they may also be other members of the Dead associated with Odin.
Cover art by Ashley Bryner |
"The Wild Hunt
The Wild Hunt is a group of spectral horsemen who ride the air at night, accompanied by hounds and horses, and led by a fearsome Huntsman (or in some cases Huntswoman). The Hunt is found in several areas of Western Europe as well as America and who exactly they are as well as who leads them can vary depending on where they are, so that in Wales they are known to be fairies led by the God Gwynn ap Nudd, while in Norse lands they are the souls of dead warriors, or the dead more generally, led by either Odin or Odin and a consort (Jones, 2003). In the Germanic areas the Hunt is often led by Odin under the name of Wodan, or sometimes Frau Hulda, or both together, and parts of England by Herne. There has been some suggestion that Herne is either Odin in disguise or else if Herne is a purely literary character that his later development into a deity was heavily influenced by Odin (Ford, 2001). The hunt in Germany is also sometimes led by Frau Perchta, or Frau Gauden [Mrs. Odin], who led groups of dead children or witches through the sky (Berk, & Spytma, 2002). In the areas where it is led by Odin it may be called Odensjakt [Odin’s Hunt], Oensjaegeren [Odin’s Hunters] or Odin’s Army. Odin’s connection to leading the Hunt goes back in writing at least several hundred years and speculatively in oral tradition to the 13th century (Lecouteux, 1999).
The Wild Hunt is known to ride out at certain times of year, especially during Lent, which is usually March and April, as well as around Midsummer and Midwinter (Grimm, 1883). Meeting the Hunt was usually seen as a bad thing and people would flee indoors or avoid going out when the Wild Hunt was known to be abroad, because of the danger it represented, but it could also bring blessings to people who were clever enough to earn them. For example, in stories like “Wod, the Wild Huntsman” the protagonist meeting the Hunt is rewarded with gifts of meat and gold for his cleverness. Conversely offending the Wild Hunt might mean the person earning a more gruesome reward, such as the corpse of his own child or a severed human limb, while other times the Hunt would turn on the individual and tear them to pieces (Berk, & Spytma, 2002; Grimm, 1883).
The beings who make up the Wild Hunt itself in Norse and Germanic lands are most often the dead, often the battle dead who still appear to bear the wounds that killed them. These ghostly troops also included animals, particularly hounds and sometimes wolves, and horses that may have as few as two or as many as eight legs (Kershaw, 2000). It’s possible that these horsemen are the Einherjar, although they may also be other members of the Dead associated with Odin.
The Wild Hunt may also have had a living counterpart, a cult of masked youths who engaged in ecstatic practices to connect to Odin and the spirits of the ancestral dead, and held processions at certain times of year (Kershaw, 2000). The Wild Hunt, particularly in Germany, had associations with blessing the harvest (Lecouteux, 1999). We may perhaps suggest that at least in Germany Odin as Wodan and his Wild Hunt was at one point connected to cultic practices that may have had many layers of purpose, possibly both connecting to the dead and blessing the land."
References
Berk, A., and Spytma, W., (2002) Penance, Power, and Pursuit, On the Trail of the Wild Hunt
Ford, D., (2001). Royal Berkshire History: Beware the Ghostly Hunt
Grimm, J., (1883). Teutonic Mythology, volume 1
Jones, M (2003) The Wild Hunt. Retrieved from www.maryjones.us/jce/wildhunt.html
Kershaw, K., (2000). The One-eyed God: Odin and the (Indo-)Germanic Mannerbunde
Lecouteux, C., (1999). Phantom Armies of the Night
Jones, M (2003) The Wild Hunt. Retrieved from www.maryjones.us/jce/wildhunt.html
Kershaw, K., (2000). The One-eyed God: Odin and the (Indo-)Germanic Mannerbunde
Lecouteux, C., (1999). Phantom Armies of the Night
Thursday, April 5, 2018
Meeting New Liminal Gods - Thallea and Thessilae
A lot has changed for me in my spirituality in the last few years, as anyone who follows my blog knows. But I do still follow the path I - for lack of a better term - call Fairy Witchcraft. And while I now focus my worship more on a specific Fairy Queen, who I feel fits the role of a liminal Goddess, I haven't stopped exploring who and what the liminal Gods are. And just like I had written about in November of 2016 I do sometimes run across new (to me) liminal deities; because Fairy Witchcraft was always meant to be a living and evolving tradition I wanted to share that here.
Today I want to talk about two liminal Goddesses I have started connecting to. Unlike the others who kind of organically came to me over time and exploration these two I found, because I was specifically looking for a deity of healing that felt like they fit in with the beings I already acknowledged. It was a slow process finding the right fit here and when I did finally meet the power I was seeking I was genuinely surprised to realize it was not one but two.
They are sisters, although what they do is very different, but as I have gotten to know them better I have come to believe they are like two sides to one coin despite their differences. They seem to act together as a pair and although I am not sure they are twins, per se, they seem very closely linked to each other; I have never seen them apart even when I am only trying to connect to one or the other.
Thallea, Lady of Roses: a power of healing and growth. I see her with skin like fresh turned earth, her hair a subtle dark green that always seems to be moving slightly, her eyes are black. Although she is focused on healing her mannerism is abrupt and brisk and I found her often impatient even though she is very kind. She is always in motion, like her hair, and rarely rests or sits still. She sings or hums when she heals and her presence is very warm. She is everything passionate about life and the struggle to live and keep living. Roses, especially pink roses, seem to be her symbol.
Thessilae, Lady of Thorns: a power of battle and death. I see her with skin like bone, dark hair and with black eyes like her sister. Her demeanor is calm and precise and she is a study in contrasts - still and peaceful when she is passive and a flurry of precise motion and deadly aim when she is active. I found her temperament to be much more calm and even soothing than her sister's. She may not seem at first like a healer but she is the aspect of healing that comes in the final release from suffering and pain and the transition out of the physical form. Her symbol is the blooded thorn.
An important thing to understand about these two is that in many ways they act together and they don't seem, in my experience, to differentiate at all between health and death as success in healing - both are the cessation of illness after all. They are compassionate and caring but they are, ultimately, Fey and they don't see things the same way we do; to them the spirit goes on in one form or another either with renewed physical health or freed from one body to be reborn in the next. It's just something to keep in mind if you decide to connect to them yourself.
Editing to add pronunciation:
Thallea - Thah-lee-ah with the 'th' like in this
Thessilae - Thehs-sih-laye
Today I want to talk about two liminal Goddesses I have started connecting to. Unlike the others who kind of organically came to me over time and exploration these two I found, because I was specifically looking for a deity of healing that felt like they fit in with the beings I already acknowledged. It was a slow process finding the right fit here and when I did finally meet the power I was seeking I was genuinely surprised to realize it was not one but two.
They are sisters, although what they do is very different, but as I have gotten to know them better I have come to believe they are like two sides to one coin despite their differences. They seem to act together as a pair and although I am not sure they are twins, per se, they seem very closely linked to each other; I have never seen them apart even when I am only trying to connect to one or the other.
Thallea, Lady of Roses: a power of healing and growth. I see her with skin like fresh turned earth, her hair a subtle dark green that always seems to be moving slightly, her eyes are black. Although she is focused on healing her mannerism is abrupt and brisk and I found her often impatient even though she is very kind. She is always in motion, like her hair, and rarely rests or sits still. She sings or hums when she heals and her presence is very warm. She is everything passionate about life and the struggle to live and keep living. Roses, especially pink roses, seem to be her symbol.
Thessilae, Lady of Thorns: a power of battle and death. I see her with skin like bone, dark hair and with black eyes like her sister. Her demeanor is calm and precise and she is a study in contrasts - still and peaceful when she is passive and a flurry of precise motion and deadly aim when she is active. I found her temperament to be much more calm and even soothing than her sister's. She may not seem at first like a healer but she is the aspect of healing that comes in the final release from suffering and pain and the transition out of the physical form. Her symbol is the blooded thorn.
An important thing to understand about these two is that in many ways they act together and they don't seem, in my experience, to differentiate at all between health and death as success in healing - both are the cessation of illness after all. They are compassionate and caring but they are, ultimately, Fey and they don't see things the same way we do; to them the spirit goes on in one form or another either with renewed physical health or freed from one body to be reborn in the next. It's just something to keep in mind if you decide to connect to them yourself.
Editing to add pronunciation:
Thallea - Thah-lee-ah with the 'th' like in this
Thessilae - Thehs-sih-laye
Tuesday, March 13, 2018
Fairy Rings
One particular bit of folklore that is still especially relevant today is that of fairy rings, also called fairy circles, elf rings, or elf circles. In Welsh they may be known as cylch y Tylwyth Teg [literally 'circle of the Fair Family']. The concept of these rings can be found throughout the different Celtic language speaking countries as well as the various diaspora and some Anglo-Saxon and German lore as well. Fairy rings appear as either a dark circle of grass or as mushrooms growing together in a ring, and less often as a circle of dead grass or small stones. It is said in folklore and common belief that this ring marks a place where the fairies have danced or where they like to dance. In the 12th century there was an English belief which attributed rings of daisies to elves dancing (Hall, 2007). The fairies love of dancing is well known as is their penchant to take people who disturb their revelry, either as a punishment or through a desire to keep the person in Fairy (Evans-Wentz, 1911).
Fairy rings can appear in different sizes, from three feet across to ten times that size (Bennett, 1991; Gwyndaf, 1991). If they were the sort made of darker green within a field then they would be either moss or much darker green grass and were notable because "no rushes or anything grew on it" (Gwyndaf, 1991). From a scientific perspective fairy rings are created by the fungus mycelium and when they grow above ground can include a variety of mushroom species, both poisonous and edible. Even the dark grass circles or less common dead grass rings are the result of mycelium though, as the fungus naturally grows upwards and outwards in an expanding circle and effects the nutrient content of the soil, resulting in the visible fairy ring effect (Mushroom Appreciation, 2016). The scientific explanation doesn't necessarily contradict the fairylore explanation, and the two beliefs are compatible with each other. For example, in some folklore it isn't the fairies dancing that causes the circle but rather the existence of the circle that draws the fairies to dance there (Bennett, 2001).
A person who comes upon an active fairy ring might see the dancers within it, and even the instruments, but hear nothing from outside, although in other stories hearing the music acts as a lure to draw an unsuspecting mortal in. Most people had a clear aversion to the idea of entering a fairy ring as it was known that to do so risked the fairies coming and taking the person away. In one Welsh story preserved in the late 20th century a person was questioned about why they avoided fairy rings and they relayed the tale of a boy named Robin Jones who entered a fairy circle one evening; he saw the fairies dancing and after what seemed to him a few hours in their company he asked to leave only to return home to find that a hundred years had passed (Gwyndaf, 1991). In a similar tale a man stopped outside a fairy ring, just to watch the fairies dance within for a few hours, and lost fifteen years of time for his dallying (Gwyndaf, 1991). Often the person would dance for what seemed like a night to them, or even only a few minutes, and then be allowed to leave only to find that a year or more had passed. Some fairy rings appear to have been used as a sort of trap to intentionally lure mortals, especially children, that the Fey folk wished to take and these people if they entered the ring would never be returned (Evans-Wentz, 1911). Other times however it seems to be only chance that leads a person to find fairies dancing in a ring; in accounts from Brittany some who join them are treated well and released unharmed with little time passed while those who offend them while they dance are forced to join the circle until they collapse form exhaustion or worse (Evans-Wentz, 1911).
Once in a fairy ring, by choice or by compulsion, a person could not leave unless they were freed by the Good Folk or rescued by another human being. In one Scottish tale a man fell asleep in the middle of a fairy ring and woke to find himself being carried through the air by the angry fairies who dumped him in a city many miles away (Briggs, 1978). In the above example of Robin Jones the boy was allowed to leave when he asked politely to, although upon leaving he found that so much time had passed on earth that everyone he knew in life had died. In another story a boy was taken through a fairy ring and tried to leave later with a golden ball to show his mother; the fairies took the ball back and threw the boy out after pinching him until he was thoroughly bruised (Evans-Wentz, 1911). He re-emerged and returned home to his mother to find that several years had passed.
Several options were available for those seeking to rescue a comrade from a fairy ring. One Welsh method of securing a person's release was to place a stick of rowan across the boundary of the ring, breaking it (Gwyndaf, 1991). Some suggest throwing specific herbs, including thyme, into the circle, and of course iron is seen as superlative method of both disrupting a fairy ring and protecting oneself from angry Fey (Hartland, 1891). Any iron object would suffice and could be used to break the edge of the ring or could be tossed into the circle to disrupt the dancing. Another method was for someone safely outside the circle to reach in, sometimes by stepping on the perimeter of the ring, and grab the person as they danced past (Briggs, 1978). Even if they were rescued though many times the person could not truly be saved, and those who had danced with the fairies in a fairy ring were known to pine away afterwards or else, if they had been taken for a length of time and allowed to leave they might rapidly age or turn to dust when the truth of their long absence from mortal earth was revealed to them in their home place, then occupied by strangers (Brigg, 1978).
There is a strong belief that if one finds a fairy ring it should not be disturbed, not only because of the possible danger, but because there is a sacredness to the space set aside within them. If one were to damage a mushroom associated with a fairy ring reparations would be offered to avoid punishment (Bennett, 1991). In Scotland and Wales it was generally unthinkable by those who believed in the Good Folk to consider intentionally damaging the ring or mushrooms, and it was believed that those who did so would be cursed (Bennett, 1991; Gwyndaf, 1991). In one Irish story a farmer who knowingly built a barn on a fairy ring fell unconscious afterwards and had a vision telling him to take down the barn (Wilde, 1888).
Fairy rings are still found today although perhaps fewer people see the footsteps of the Fey in them, and more see the science of mycelium. In the spirit of tradition though it doesn't have to be one or the other but can both, in truth, and we can still see the enchantment and sacredness of the footsteps of the Good People in fairy rings without denying the knowledge of their natural cause. If you keep your eyes open and your sense sharp you may find a ring of dark grass or new grown mushrooms in your yard or the area you live in.
Although perhaps you'll think twice about stepping across its boundary.
References:
Bennett, M., (1991) Balquhidder Revisited: Fairylore in the Scottish highlands, 1690- 1990
Briggs, K., (1978) The Vanishing People
Gwyndaf, R., (1991) Fairylore: Memorates and legends from Welsh oral tradition
Mushroom Appreciation (2016). Fanciful Fairy Rings
Evans-Wentz (1911) The Fairy Faith in Celtic Countries
Wilde, E., (1888). Ancient Legends, Mystic Charms & Superstitions of Ireland
Excerpted from my book 'Fairies'
Fairy ring of Clitocybe nebularis (“Clouded Agaric”) photographed near Buchenberg in the Allgäu by Josimda – Own work,CC BY-SA 3.0 via Wikimedia Commons |
Fairy rings can appear in different sizes, from three feet across to ten times that size (Bennett, 1991; Gwyndaf, 1991). If they were the sort made of darker green within a field then they would be either moss or much darker green grass and were notable because "no rushes or anything grew on it" (Gwyndaf, 1991). From a scientific perspective fairy rings are created by the fungus mycelium and when they grow above ground can include a variety of mushroom species, both poisonous and edible. Even the dark grass circles or less common dead grass rings are the result of mycelium though, as the fungus naturally grows upwards and outwards in an expanding circle and effects the nutrient content of the soil, resulting in the visible fairy ring effect (Mushroom Appreciation, 2016). The scientific explanation doesn't necessarily contradict the fairylore explanation, and the two beliefs are compatible with each other. For example, in some folklore it isn't the fairies dancing that causes the circle but rather the existence of the circle that draws the fairies to dance there (Bennett, 2001).
A person who comes upon an active fairy ring might see the dancers within it, and even the instruments, but hear nothing from outside, although in other stories hearing the music acts as a lure to draw an unsuspecting mortal in. Most people had a clear aversion to the idea of entering a fairy ring as it was known that to do so risked the fairies coming and taking the person away. In one Welsh story preserved in the late 20th century a person was questioned about why they avoided fairy rings and they relayed the tale of a boy named Robin Jones who entered a fairy circle one evening; he saw the fairies dancing and after what seemed to him a few hours in their company he asked to leave only to return home to find that a hundred years had passed (Gwyndaf, 1991). In a similar tale a man stopped outside a fairy ring, just to watch the fairies dance within for a few hours, and lost fifteen years of time for his dallying (Gwyndaf, 1991). Often the person would dance for what seemed like a night to them, or even only a few minutes, and then be allowed to leave only to find that a year or more had passed. Some fairy rings appear to have been used as a sort of trap to intentionally lure mortals, especially children, that the Fey folk wished to take and these people if they entered the ring would never be returned (Evans-Wentz, 1911). Other times however it seems to be only chance that leads a person to find fairies dancing in a ring; in accounts from Brittany some who join them are treated well and released unharmed with little time passed while those who offend them while they dance are forced to join the circle until they collapse form exhaustion or worse (Evans-Wentz, 1911).
Once in a fairy ring, by choice or by compulsion, a person could not leave unless they were freed by the Good Folk or rescued by another human being. In one Scottish tale a man fell asleep in the middle of a fairy ring and woke to find himself being carried through the air by the angry fairies who dumped him in a city many miles away (Briggs, 1978). In the above example of Robin Jones the boy was allowed to leave when he asked politely to, although upon leaving he found that so much time had passed on earth that everyone he knew in life had died. In another story a boy was taken through a fairy ring and tried to leave later with a golden ball to show his mother; the fairies took the ball back and threw the boy out after pinching him until he was thoroughly bruised (Evans-Wentz, 1911). He re-emerged and returned home to his mother to find that several years had passed.
Several options were available for those seeking to rescue a comrade from a fairy ring. One Welsh method of securing a person's release was to place a stick of rowan across the boundary of the ring, breaking it (Gwyndaf, 1991). Some suggest throwing specific herbs, including thyme, into the circle, and of course iron is seen as superlative method of both disrupting a fairy ring and protecting oneself from angry Fey (Hartland, 1891). Any iron object would suffice and could be used to break the edge of the ring or could be tossed into the circle to disrupt the dancing. Another method was for someone safely outside the circle to reach in, sometimes by stepping on the perimeter of the ring, and grab the person as they danced past (Briggs, 1978). Even if they were rescued though many times the person could not truly be saved, and those who had danced with the fairies in a fairy ring were known to pine away afterwards or else, if they had been taken for a length of time and allowed to leave they might rapidly age or turn to dust when the truth of their long absence from mortal earth was revealed to them in their home place, then occupied by strangers (Brigg, 1978).
There is a strong belief that if one finds a fairy ring it should not be disturbed, not only because of the possible danger, but because there is a sacredness to the space set aside within them. If one were to damage a mushroom associated with a fairy ring reparations would be offered to avoid punishment (Bennett, 1991). In Scotland and Wales it was generally unthinkable by those who believed in the Good Folk to consider intentionally damaging the ring or mushrooms, and it was believed that those who did so would be cursed (Bennett, 1991; Gwyndaf, 1991). In one Irish story a farmer who knowingly built a barn on a fairy ring fell unconscious afterwards and had a vision telling him to take down the barn (Wilde, 1888).
Fairy rings are still found today although perhaps fewer people see the footsteps of the Fey in them, and more see the science of mycelium. In the spirit of tradition though it doesn't have to be one or the other but can both, in truth, and we can still see the enchantment and sacredness of the footsteps of the Good People in fairy rings without denying the knowledge of their natural cause. If you keep your eyes open and your sense sharp you may find a ring of dark grass or new grown mushrooms in your yard or the area you live in.
Although perhaps you'll think twice about stepping across its boundary.
References:
Bennett, M., (1991) Balquhidder Revisited: Fairylore in the Scottish highlands, 1690- 1990
Briggs, K., (1978) The Vanishing People
Gwyndaf, R., (1991) Fairylore: Memorates and legends from Welsh oral tradition
Mushroom Appreciation (2016). Fanciful Fairy Rings
Evans-Wentz (1911) The Fairy Faith in Celtic Countries
Wilde, E., (1888). Ancient Legends, Mystic Charms & Superstitions of Ireland
Hall, A., (2007). Elves in Anglo-Saxon England
Hartland, E., (1891). The Science of Fairy TalesExcerpted from my book 'Fairies'
Monday, March 12, 2018
Monday, March 5, 2018
Irish/English Glossary of Common Terms
This post is meant to offer a selection of the common terms I use in Irish with their English translations, to help readers of my blog who may not have any Irish or who may find the use of Irish placenames, euphemisms for the Good Neighbours, and other miscellaneous words confusing. Hopefully this will offer a bit of clarity.
Aitainmneacha / Place Names
An Cheathru Chaol - Carrowkeel
Brú na Bóinne - Brugh na Boyne
Cnóbha - Knowth
Cnoc - hill
Connachta - Connacht
Cúigí na hÉireann - Provinces of Ireland
Dumha na nGiall - Mound of the Hostages
Laighin - Leinster
Lios - Ring fort, fairy mound
Mide - Meath
Mumhain - Munster
Ráth - Fort, ring fort
Sidhe - fairy mound
Sid in Broga - Newgrange
Sliabh na Caillighe - Loughcrew, literally 'mountain of the Cailleach'
Teamhair - Tara
Uaimh na gCat - Cave of Cats
Ulaidh - Ulster
Sofhroital na Sióga/ Euphemisms for Fairies
Aos Sidhe - People of the fairy hills
Bean Sidhe - fairy woman
Daoine Eile - Other People/ Other Crowd
Daoine Maithe - Good People
Daoine Sidhe - People of the fairy hills
Daoine Uaisle - Noble People
Fear sidhe - fairy man
Leannan Sidhe - fairy lover
na hUaisle - the Gentry
Tuathghinte - literally 'northwards people'
Go hilghneitheach/ Miscellaneous
Badb - name of a goddess also a term for a supernatural woman, witch, and crow
Bainne - milk
Banríon - Queen
Bantuaithech - old Irish term for a specific type of 'leftward' working witch
Bean feasa - wise woman
Cailleach - name of a goddess, also means crone, hag, witch
Caite - elf-struck
Conriocht - werewolf
Déithe - Gods
Draíodóir - wizard, enchanter
Draoi - magic user, druid
Gaeilge - Irish language
Iarlais - changeling
Im - butter
Piseog - charm, spell, also supersition
Rí - King
Sidhe gaoithe - fairy wind
Slua sidhe - Fairy host
Taibhse - ghost, spectre, phantom
Tromluí - incubus, nightmare
Pronunciations for all of these can be found below, thanks to Lora O'Brien who was kind enough to collaborate with me on this, after the idea of glossary was suggested on facebook
Aitainmneacha / Place Names
An Cheathru Chaol - Carrowkeel
Brú na Bóinne - Brugh na Boyne
Cnóbha - Knowth
Cnoc - hill
Connachta - Connacht
Cúigí na hÉireann - Provinces of Ireland
Dumha na nGiall - Mound of the Hostages
Laighin - Leinster
Lios - Ring fort, fairy mound
Mide - Meath
Mumhain - Munster
Ráth - Fort, ring fort
Sidhe - fairy mound
Sid in Broga - Newgrange
Sliabh na Caillighe - Loughcrew, literally 'mountain of the Cailleach'
Teamhair - Tara
Uaimh na gCat - Cave of Cats
Ulaidh - Ulster
Sofhroital na Sióga/ Euphemisms for Fairies
Aos Sidhe - People of the fairy hills
Bean Sidhe - fairy woman
Daoine Eile - Other People/ Other Crowd
Daoine Maithe - Good People
Daoine Sidhe - People of the fairy hills
Daoine Uaisle - Noble People
Fear sidhe - fairy man
Leannan Sidhe - fairy lover
na hUaisle - the Gentry
Tuathghinte - literally 'northwards people'
Go hilghneitheach/ Miscellaneous
Badb - name of a goddess also a term for a supernatural woman, witch, and crow
Bainne - milk
Banríon - Queen
Bantuaithech - old Irish term for a specific type of 'leftward' working witch
Bean feasa - wise woman
Cailleach - name of a goddess, also means crone, hag, witch
Caite - elf-struck
Conriocht - werewolf
Déithe - Gods
Draíodóir - wizard, enchanter
Draoi - magic user, druid
Gaeilge - Irish language
Iarlais - changeling
Im - butter
Piseog - charm, spell, also supersition
Rí - King
Sidhe gaoithe - fairy wind
Slua sidhe - Fairy host
Taibhse - ghost, spectre, phantom
Tromluí - incubus, nightmare
Pronunciations for all of these can be found below, thanks to Lora O'Brien who was kind enough to collaborate with me on this, after the idea of glossary was suggested on facebook
Tuesday, February 27, 2018
Discerning Good Source Material
One thing that's important for anyone who relies, to any degree, on sources outside themselves for spirituality - or anything else - is being able to judge a good source from a bad one. So today I want to just run down a quick list of ways to vett sources of any type to decide how much weight you should give to something. Even if a source isn't perfect it may have value - or it may be immediately tossed out. It depends on how it measures up.
- What sources does this source use? - One of the first things I do with any new source, be it written, video, in person, or what-have-you, is to try to look at what sources that source is using. Are they talking purely from personal gnosis? Are they using academic texts? Are they using other authors based in personal gnosis? Are they using well known and respected sources? Are they referencing conspiracy theorists or known white supremacists? Do they have no sources at all that they admit to? All of these things need to be taken into account. Something that's entirely personal gnoses isn't necessarily bad but needs to be understood in that context, while something from a deeply flawed or problematic source will be eliminated.
- Never once the Wikipedia - Okay this is bit ranty right here, but as soon as I see wikipedia listed as a source for anything I'm done with that source. There's a very good reason that wikipedia can't be used in college, university, or even high school classes: its notoriously unreliable and oddly biased. Anyone can and does edit wikipedia and while its true that wikipedia cites sources and includes references pretty much any print or online source can be used and there is no quality control. Let me repeat; there is no quality control. The entry on Baobhan Sithe was sourced mainly from modern vampire guides, themselves largely repeating modern urban legends, and from RPG guidebooks. No really. The entry on Finnbheara contained an assertion straight from a fiction novel (I removed it, because remember anyone can edit wikipedia). Please don't trust anything on wikipedia or any article using wiki as a source. Just don't.
- What is the author's bias? - Every author or teacher has biases, that's just human nature. Figuring out what to think of a source means understanding what that source's biases are and how that's affecting the material. A bias doesn't mean you can't use a source but that you have to be aware of the way the author's opinions influence their work. To use myself as an example - I am unashamedly nativist in my views of Irish mythology and folklore. Nativism is a bias that means I will always tend to see material as having some native Irish influence or value in it; anti-Nativist in contrast means that the author tends to always see foreign influences in any historic Irish material or mythology. Neither is necessarily provably correct or incorrect but both strongly influence a person's views. Authors can have all kinds of different biases and its helpful to just be aware of them or at least that bias is a possibility. Even a book that is aimed at sharing facts will still be influenced by the author's personal opinions and views. Be aware that bias is a thing and that it matters.
- Date - Another thing to consider is how old the source is, particularly for books and articles. Scholarship is always changing and evolving and when I was in school we were strongly encouraged to use material that had been written within the last 10 years and preferably within 5. That was in the field of psychology of course and in more casual study you don't need to be as strict with this but the core idea is the same, that older books tend to have ideas and theories that are more outdated. This doesn't mean the whole work is useless, just that it needs to be kept in context. For example I love the Fairy Faith in Celtic Countries and find it valuable for the anecdotal material - yet the material written by the author themself which waxes eloquent about fairies as Bronze age pygmy survivals in iron age Britain is clearly not only out dated but thoroughly disproven by actual archaeology and anthropology.
- Perspective - what perspective is this source speaking from? Is it being written by a member of the community? A believer? A non-believer? An outsider? A scholar? A laymen? Like bias the source's perspective on the material also needs to be understood in the context of its value, because someone who is part of a community writing about that community has a very different perspective than an outsider, and a scholar has a very different perspective than a laymen. Each voice can have value in a discussion, but we shouldn't forget where each one is speaking from.
- Non-fiction or fiction? - this may seem like an odd one, but I see a lot of blurred lines between these two in some cases, possibly because older folklore is often treated as fiction and so modern fiction is given the same weight as folklore. It's worth keeping in mind though that folklore represents stories that people believed to be true (as opposed to fairy tales, which are something else) while modern fiction is the work of imagination. How fine or thick a line there is between those two will be a matter of opinion, but it should at least be considered when weighing the value of a source, whether it was written as fiction or not.
Thursday, January 4, 2018
Excerpt from 'Travelling the Fairy Path'
I have a new book coming out in September of this year, called 'Travelling the Fairy Path' so today I'd like to offer an excerpt from it. Its going to focus on the more experiential side of my own spirituality but it also includes some discussion of things I've learned from the folklore, with a chapter on the ballad material. This excerpt is from that chapter.
The Queen of
Elfan’s Nourice [the Queen of Elfland’s Nurse]
The
Queen of Elfan’s Nourice is the story of a human woman taken by the Queen of
Fairy to be a nursemaid. It gives us a unique look at one of the common reasons
that the Fey folk were known to take new mothers, from the mother’s point of
view. [I'm including the complete ballad below with the language updated to modern English].
I heard a cow low,
a bonnie cow low,
And a cow low down
in yonder glen;
Long, long will my
young son weep
For his mother to
bid him come in.
I heard a cow low,
a bonnie cow low,
And a cow low down
in yonder fold;
Long, long will my
young son weep
For his mother to take him from the cold.
* * * * *
'Waken, Queen of
Elfland,
And hear your
nurse moan.’
‘O moan you for
your meat,
Or moan you for
your money,
Or moan you for
the other bounties
That ladies are want
to give?’
‘I moan not for my
meat,
Nor moan I for my
money,
Nor moan I for the
other bounties
That ladies are want
to give.
****
But I moan for my
young son
I left at four
nights old.
‘I moan not for my
meat,
Nor yet for my
money,
But I mourn for
Christian land,
It’s there I
gladly would be.’
‘O nurse my child,
nurse,’ she says,
‘Till he stands at
your knee,
And you’ll win
home to Christian land,
Where glad it’s
you would be.
‘O keep my child,
nurse,
Till he goes by
the hand,
And you’ll win home
to your young son
You left at four
nights old.’
* * * *
‘O nurse lay your
head
Upon my knee:
See you not that
narrow road
Up by yon tree?
. . . . .
That’s the road
the righteous goes,
And that’s the
road to heaven.
‘And see not you
that broad road,
Down by yonder
sunny hill?
That’s the road
the wicked go,
And that’s the
road to hell.’
(modified
from Child, 1898)
The
ballad opens seemingly from the human woman’s point of view, as she talks about
how long her son will cry over her loss. The next verse picks up with the Queen
of Elfland being awoken by someone telling her that her nurse is weeping; the
Queen then asks if the nurse is hungry, wanting to be paid or wanting some
other small gift. The nurse replies that she wants none of those things but is
crying for her baby son who she left as a newborn and for mortal earth. The
Queen replies that if she nurses the Fairy Queen’s son until he ‘stands at [her] knee’ and ‘goes by the hand’ – one may assume is
walking on his own – then she will be returned to her own son. Then, as we saw
previously in the ballad of Thomas the Rhymer, we see the Queen comforting the
nurse by telling her to lay her head on the Queen’s knee and showing her a
vision of two roads, one to heaven and one to hell. Obviously since they are
already in Fairy she doesn’t show her a third road, perhaps not wanting to show
her the way to escape back to mortal earth.
It
is interesting that we see here again the idea of the different roads or paths
and that again they are being shown to a mortal by the Fairy Queen herself. In Thomas
the Rhymer this vision was called a ‘wonder’ and it was also used to soothe a
person who was upset. To me this indicates that the idea of the roads has some significance
worth considering. In both poems the road to heaven is described as the less
attractive and more difficult and the road to Hell is more pleasant looking and
‘broad’.
The
Queen of Elfan’s Nourice is a more obscure poem but it is valuable because it
shows us another side of dealing with the Fairy Queen and fairies more
generally. The new mother has been taken by the Fey folk but her unhappiness
does seem to matter to them and the Queen makes some attempt to comfort her,
although at no point is her freedom immediately offered. She is however
promised that when certain conditions are met, in this case nursing the Queen’s
child for a specific period of time, she will be returned to mortal earth and
her own child. There is also the implication in the Queen’s words, asking the nurse
whether she is moaning about money, food, or gifts, that imply she was willing
to pay for the services in other ways as well. Only when the nurse explains
that she doesn’t want those things but is upset about her baby son and her home
is she offered her eventual freedom. This however suggests that negotiation is
an option even with the Fairy Queen.
*******************************************************
Travelling the Fairy Path will represent the third, and I anticipate final, book in my Fairy Witchcraft series.
Friday, December 22, 2017
Movie Review: Bright
This is a first for me, a movie review, but I really want to do this one for two reasons: I hardly ever find decent urban fantasy as a movie and the mainstream critics have eviscerated this one which I think deserves a response. As an author of urban fantasy this genre is one that is obviously very close to my heart and I have been excited since I first saw ads for Bright because it looked like something beyond the usual, tepid, tv fair that I've seen so far. I'm not going to name names but let's just say that I haven't ever found any small screen material in the genre that held my attention. Suffice to say Bright did, and I think it deserves a review from someone who loves the genre but isn't a professional movie reviewer.
This may contain mild spoilers, so you've been warned. That said, here's my review of the Netflix movie Bright.
Bright starts out slow, with the initial half hour or so letting the audience get to know the two main characters and acclimate to their world. The particular setting is Los Angeles in an alternate reality where magic is real and Otherworldly beings not only live side by side with humanity but form a fully integrated part of society. There is no 'telling' in this movie, no voice over exposition to explain to the audience why the world is the way it is. We are simply thrown into it. The film uses the opening sequence brilliantly, I think, to explain some basics of the world using background shots and street graffiti. I applaud this choice, as I think it would have been a mistake to over explain the world or have too much set up. We are given just enough to grasp the concepts and follow along as the movie continues and the world further establishes itself. The film also does something that I am personally a huge fan of and do in my own writing which is to shift human racial issues to interspecies differences, although I will add that its clear from subtext in the movie that human racial issues haven't disappeared either. The orcs are lower-class species, humans are somewhere in the middle, elves are at the top, fairies are flying rats, and there are hints of other species including centaurs, dragons, and others* that make the world complex. Its clear although not explained in depth that within both the orcish and elvish culture there is actual culture and also conflict. The world of Bright then is multilayered and contextual.
The two protagonists are well done and well played by Will Smith, as veteran cop Darryl Ward, and Joel Edgerton, as rookie orc cop Nick Jakoby. Jakoby is a first in this world, an orc who became a police officer and there is an integral tension to his position surrounded by people prejudiced against his species. Jakoby himself with his boundless optimism and enthusiasm is the perfect foil to Ward's character, who is counting down to being able to retire and start collecting his pension. There are layers to the relationship between the two that involve perceived betrayal, actual betrayal, and hurt on several levels and I thought that was well built for this kind of movie. I've seen it described in multiple places as a 'buddy cop film' but for me it wasn't that at all, but an exploration of what happens when two 'good' people are thrown together and forced to trust each other despite themselves. I liked that Jakoby's character never stopped reaching out to Ward, and that Ward never relented to the end, and I think from my own perspective there were aspects of Jakoby's behavior that should have been viewed as coming from orc culture, including his loyalty to his partner despite it all and his desire to be a hero.
Leilah is what every movie antagonist should be: merciless, relentless, and utterly dedicated to her own cause. The film doesn't waste much time fleshing out her character, but I felt like that worked in this case; it added a level of dread to have the antagonist be, in many ways, a blank slate. The protagonists don't know anything about her except that she wants what they have and is willing to kill anyone who gets her in her way to get it. There is never any sense that she can be negotiated with or avoided - she is like a force of nature. It was refreshing to see an antagonist treated this way. She is a beautiful monster and the movie lets her be exactly that, without trying to soften her or justify her deadliness.
The Magic Task Force was a nice concept within the world, and I liked the implications that there were things behind the scenes than even the audience wasn't aware of. In a situation where you have a few good people and a lot of obviously bad people, it was interesting to have the Magical Task Force as an ambivalent unknown factor. I also appreciated the implication that there were elves in law enforcement in some way as that added depth to the world.
There was just enough foreshadowing early, particularly with the sword wielding Shield of Light member to make it clear there was more going on than just an orc cop getting bullied or Ward being stuck with a partner he didn't want. I liked that there were human and orc gangs, and there were good and corrupt cops, and I also thought the orc church was awesome. Much of the world building here, as I mentioned, was subtle and simply presented as part of the reality of the movie which allowed the viewer to be immersed in the world without being overwhelmed with explanations. There was just enough backstory and exposition in dialogue, without making the story drag.
I enjoyed the humor of the movie, which had some great one-liners as well as some good dialogue overall. There are points, especially in the beginning, that the pacing is a bit off and the tone wobbles - for example Ward's daughter seems to really like Jakoby when he shows up at their house, yet in the next scene she's angry at her father and saying that her mother says Jakoby is going to get Ward killed and she wishes her father wasn't a cop. That seemed off balance and strange. I'll also admit I didn't like Ward's wife's character at all, but that may be because she wasn't established enough and came off as flat.
There were a few plot holes that I do wish the writers had taken care of. Why did the wand make Tikka sick but not the other untrained Bright who used it? Why didn't Tikka speak English to them in life-or-death situations when yelling at them in Elvish was obviously a wasted effort? But overall I think that it was a fairly cohesive story and that it was effective at tying up its own loose ends. There was nothing in the story itself that I found badly done and the details I mention are fairly small.
I think there's a lot to like in this movie, and I enjoyed that it was solidly an urban fantasy but wasn't afraid to toss out at least a few of the popular tropes. The elves are powerful, but they are also elitists and clearly dangerous. The orcs are physically strong and clearly socially limited to menial tasks for the most part, but they aren't stupid or evil. There's no clear line between good and bad here, just people trying to survive. The special effects were good but not excessive. As urban fantasy movies go this may be the best one I've seen.
I'd give it 4.5 stars out of 5.
*there's a point in one scene where a human looking character blinks a nictitating membrane sideways across her eyes, indicating she isn't actually human, but I have no idea what she is supposed to be. Which I liked.
This may contain mild spoilers, so you've been warned. That said, here's my review of the Netflix movie Bright.
Bright starts out slow, with the initial half hour or so letting the audience get to know the two main characters and acclimate to their world. The particular setting is Los Angeles in an alternate reality where magic is real and Otherworldly beings not only live side by side with humanity but form a fully integrated part of society. There is no 'telling' in this movie, no voice over exposition to explain to the audience why the world is the way it is. We are simply thrown into it. The film uses the opening sequence brilliantly, I think, to explain some basics of the world using background shots and street graffiti. I applaud this choice, as I think it would have been a mistake to over explain the world or have too much set up. We are given just enough to grasp the concepts and follow along as the movie continues and the world further establishes itself. The film also does something that I am personally a huge fan of and do in my own writing which is to shift human racial issues to interspecies differences, although I will add that its clear from subtext in the movie that human racial issues haven't disappeared either. The orcs are lower-class species, humans are somewhere in the middle, elves are at the top, fairies are flying rats, and there are hints of other species including centaurs, dragons, and others* that make the world complex. Its clear although not explained in depth that within both the orcish and elvish culture there is actual culture and also conflict. The world of Bright then is multilayered and contextual.
The two protagonists are well done and well played by Will Smith, as veteran cop Darryl Ward, and Joel Edgerton, as rookie orc cop Nick Jakoby. Jakoby is a first in this world, an orc who became a police officer and there is an integral tension to his position surrounded by people prejudiced against his species. Jakoby himself with his boundless optimism and enthusiasm is the perfect foil to Ward's character, who is counting down to being able to retire and start collecting his pension. There are layers to the relationship between the two that involve perceived betrayal, actual betrayal, and hurt on several levels and I thought that was well built for this kind of movie. I've seen it described in multiple places as a 'buddy cop film' but for me it wasn't that at all, but an exploration of what happens when two 'good' people are thrown together and forced to trust each other despite themselves. I liked that Jakoby's character never stopped reaching out to Ward, and that Ward never relented to the end, and I think from my own perspective there were aspects of Jakoby's behavior that should have been viewed as coming from orc culture, including his loyalty to his partner despite it all and his desire to be a hero.
Leilah is what every movie antagonist should be: merciless, relentless, and utterly dedicated to her own cause. The film doesn't waste much time fleshing out her character, but I felt like that worked in this case; it added a level of dread to have the antagonist be, in many ways, a blank slate. The protagonists don't know anything about her except that she wants what they have and is willing to kill anyone who gets her in her way to get it. There is never any sense that she can be negotiated with or avoided - she is like a force of nature. It was refreshing to see an antagonist treated this way. She is a beautiful monster and the movie lets her be exactly that, without trying to soften her or justify her deadliness.
The Magic Task Force was a nice concept within the world, and I liked the implications that there were things behind the scenes than even the audience wasn't aware of. In a situation where you have a few good people and a lot of obviously bad people, it was interesting to have the Magical Task Force as an ambivalent unknown factor. I also appreciated the implication that there were elves in law enforcement in some way as that added depth to the world.
There was just enough foreshadowing early, particularly with the sword wielding Shield of Light member to make it clear there was more going on than just an orc cop getting bullied or Ward being stuck with a partner he didn't want. I liked that there were human and orc gangs, and there were good and corrupt cops, and I also thought the orc church was awesome. Much of the world building here, as I mentioned, was subtle and simply presented as part of the reality of the movie which allowed the viewer to be immersed in the world without being overwhelmed with explanations. There was just enough backstory and exposition in dialogue, without making the story drag.
I enjoyed the humor of the movie, which had some great one-liners as well as some good dialogue overall. There are points, especially in the beginning, that the pacing is a bit off and the tone wobbles - for example Ward's daughter seems to really like Jakoby when he shows up at their house, yet in the next scene she's angry at her father and saying that her mother says Jakoby is going to get Ward killed and she wishes her father wasn't a cop. That seemed off balance and strange. I'll also admit I didn't like Ward's wife's character at all, but that may be because she wasn't established enough and came off as flat.
There were a few plot holes that I do wish the writers had taken care of. Why did the wand make Tikka sick but not the other untrained Bright who used it? Why didn't Tikka speak English to them in life-or-death situations when yelling at them in Elvish was obviously a wasted effort? But overall I think that it was a fairly cohesive story and that it was effective at tying up its own loose ends. There was nothing in the story itself that I found badly done and the details I mention are fairly small.
I think there's a lot to like in this movie, and I enjoyed that it was solidly an urban fantasy but wasn't afraid to toss out at least a few of the popular tropes. The elves are powerful, but they are also elitists and clearly dangerous. The orcs are physically strong and clearly socially limited to menial tasks for the most part, but they aren't stupid or evil. There's no clear line between good and bad here, just people trying to survive. The special effects were good but not excessive. As urban fantasy movies go this may be the best one I've seen.
I'd give it 4.5 stars out of 5.
*there's a point in one scene where a human looking character blinks a nictitating membrane sideways across her eyes, indicating she isn't actually human, but I have no idea what she is supposed to be. Which I liked.
Thursday, December 14, 2017
Fair Folk Q & A
Recently for Patheos I did a post based on having people ask me questions on social media about the Morrigan which I answered in a Q&A format in a blog. Afterwards I had several people ask me to do one based around the Fair Folk and this is the result. As always I'll point out that this is based on my personal knowledge and experience with Themselves and also that I use the term fairies as a generic catch-all term for a variety of beings who are Otherworldly in nature.
Eric asks about credible modern sources for sightings?
My answer - there's a site called Fairyist that has a collection of sightings, both from folklore and more modern examples. There's also a book by Marjorie Johnson called 'Seeing Fairies' that is a collection of modern sightings.
My answer - there's a site called Fairyist that has a collection of sightings, both from folklore and more modern examples. There's also a book by Marjorie Johnson called 'Seeing Fairies' that is a collection of modern sightings.
Eric also asks if I have a personal favorite encounter story?
My answer - Hard to say I have a favorite. Probably the white fairy hound was one of the ones that has stuck with me the most. That was back around '99. I was working for an ambulance company and besides emergencies we also did routine medical transfers. It was around 430 am on a february morning and we were parked next to a large grassy lot that was fenced off for construction. My partner stayed in the ambulance reading while we waited to go do our pick up at a local nursing home but I got out to stretch my legs. Standing near the fence looking into the darkness I noticed a white shape coming towards me across the field. It was large and obviously dog shaped, maybe the size of a German Shepherd, but all white. I thought maybe it was someone letting their dog run in the field, but I couldn't see any people anywhere. And it just kept running straight at me, like with a purpose. And that started to make me nervous, and then I noticed something seemed off with its gait. Like it was running with this oddly hitching movement. So it gets about 2/3rds or so across the field to where I can see it more clearly in the dark and I realize it looks like a large greyhound, but a bit heavier, and it only has one front leg kind of centered in its chest.
I have never moved so fast in my life as I did getting back in that ambulance. I scared my partner, who wanted to know what my problem was, and I said there was a dog - except when we looked out there was no dog. Nothing. Just darkness. And mind you it was impossible for it to have run anywhere in the amount of time between when I jumped in the rig and when we looked out, and the whole area was surrounded by a chainlink fence. It was just gone.
My answer - Hard to say I have a favorite. Probably the white fairy hound was one of the ones that has stuck with me the most. That was back around '99. I was working for an ambulance company and besides emergencies we also did routine medical transfers. It was around 430 am on a february morning and we were parked next to a large grassy lot that was fenced off for construction. My partner stayed in the ambulance reading while we waited to go do our pick up at a local nursing home but I got out to stretch my legs. Standing near the fence looking into the darkness I noticed a white shape coming towards me across the field. It was large and obviously dog shaped, maybe the size of a German Shepherd, but all white. I thought maybe it was someone letting their dog run in the field, but I couldn't see any people anywhere. And it just kept running straight at me, like with a purpose. And that started to make me nervous, and then I noticed something seemed off with its gait. Like it was running with this oddly hitching movement. So it gets about 2/3rds or so across the field to where I can see it more clearly in the dark and I realize it looks like a large greyhound, but a bit heavier, and it only has one front leg kind of centered in its chest.
I have never moved so fast in my life as I did getting back in that ambulance. I scared my partner, who wanted to know what my problem was, and I said there was a dog - except when we looked out there was no dog. Nothing. Just darkness. And mind you it was impossible for it to have run anywhere in the amount of time between when I jumped in the rig and when we looked out, and the whole area was surrounded by a chainlink fence. It was just gone.
Ruth asks whether it's better to leave offerings indoors or outdoors?
My answer - there's two ways to look at this, one is that inside offerings invite them in so it can be safer to leave things outside. The other is that in a lot of folklore offerings were left in specific places inside, so it is okay to do.
I tend to favor the idea that its really the consistency that matters so, either leave things in both places or stick to one.
My answer - there's two ways to look at this, one is that inside offerings invite them in so it can be safer to leave things outside. The other is that in a lot of folklore offerings were left in specific places inside, so it is okay to do.
I tend to favor the idea that its really the consistency that matters so, either leave things in both places or stick to one.
Benni asks whether it's true that bells drive away fairies, or if it's okay to use them in fairy related rituals?
My answer - the bells go both ways - folklore says bells, particularly church bells, drive away fairies. However bells are also strongly associated with them, including with the fairy Rade.
I was told that the sound of bells drives away negative entities, but draw in goodly inclined ones
My answer - the bells go both ways - folklore says bells, particularly church bells, drive away fairies. However bells are also strongly associated with them, including with the fairy Rade.
I was told that the sound of bells drives away negative entities, but draw in goodly inclined ones
Anita asks of the Fair Folk have human descendants?
My answer - I get asked this question a lot, and folklore is pretty clear that the answer is yes. Many Irish families trace their ancestry back to members of the Tuatha De Danann or to Fairy Kings or Queens.
My answer - I get asked this question a lot, and folklore is pretty clear that the answer is yes. Many Irish families trace their ancestry back to members of the Tuatha De Danann or to Fairy Kings or Queens.
Kelly asks about the effect of tuning into the Fey through cultural lenses, local folklore, and ancestral folklore?
My answer - I think all of these play a role. When we have a very strong cultural filter in place, like in any other area, it will color our perceptions. We see what we expect to see or at least give familiar names to things - I often tell a story about an each usige (water horse) in a local lake, which may or may not actually be a Celtic water horse but that name is the best I know to describe the being that is there.
That said though local spirits will always also be present and have their own tone and energy. I always recommend people look into the local folklore and fairylore of their area as much as possible.
Ancestral ties/cultural heritage can also have an effect if fey beings from that background seek us out or are drawn to us.
So like with so many things its really a matter of 'all of the above'
My answer - I think all of these play a role. When we have a very strong cultural filter in place, like in any other area, it will color our perceptions. We see what we expect to see or at least give familiar names to things - I often tell a story about an each usige (water horse) in a local lake, which may or may not actually be a Celtic water horse but that name is the best I know to describe the being that is there.
That said though local spirits will always also be present and have their own tone and energy. I always recommend people look into the local folklore and fairylore of their area as much as possible.
Ancestral ties/cultural heritage can also have an effect if fey beings from that background seek us out or are drawn to us.
So like with so many things its really a matter of 'all of the above'
Ellen asks if the term Fair Folk is strictly Celtic or applies to other culture?
My answer - 'Fair Folk' as such would be a specifically Irish term for the beings who live in the fairy mounds; it can be used in a more general way or as a more specific descriptor for beings that are human-like in appearance and magically powerful (think roughly like Tolkien's elves). Other Celtic cultures have similar terms which are roughly analogous to the Irish Fair Folk, like the Welsh Tylwyth Teg [Fair Family] or Scottish Daoine Sith [People of Peace].
However the concept of fairies, as a more general term for Otherworldly beings, can be applied to beings outside Celtic cultures. If we are using the word fairy in its older sense as simply meaning 'from Fairyland'. Caution is needed here though to realize that each culture will have its own understanding of and unique beings within this wider concept.
My answer - 'Fair Folk' as such would be a specifically Irish term for the beings who live in the fairy mounds; it can be used in a more general way or as a more specific descriptor for beings that are human-like in appearance and magically powerful (think roughly like Tolkien's elves). Other Celtic cultures have similar terms which are roughly analogous to the Irish Fair Folk, like the Welsh Tylwyth Teg [Fair Family] or Scottish Daoine Sith [People of Peace].
However the concept of fairies, as a more general term for Otherworldly beings, can be applied to beings outside Celtic cultures. If we are using the word fairy in its older sense as simply meaning 'from Fairyland'. Caution is needed here though to realize that each culture will have its own understanding of and unique beings within this wider concept.
Sara asks about the difference in experiences with Themselves, in my experience, between Europe and America
My answer - In my personal experience they are much more directly engaged and present in Europe. And yes I am including experiences in america with native fey beings. I have found that the spirits native to America that I would label as 'fairies' are more reclusive and less willing to seek engagement than ones in Europe, although I will add that I couldn't say that was something that would be true for everyone, as opposed to just my own experiences.
My answer - In my personal experience they are much more directly engaged and present in Europe. And yes I am including experiences in america with native fey beings. I have found that the spirits native to America that I would label as 'fairies' are more reclusive and less willing to seek engagement than ones in Europe, although I will add that I couldn't say that was something that would be true for everyone, as opposed to just my own experiences.
Brian asks who is nicer the Daoine Sidhe or the Alfar?
My answer - hands down the Alfar are nicer by any definition of the term.
My answer - hands down the Alfar are nicer by any definition of the term.
Aleja asks if I think the Court system or concept of Fairy Kings and Queens occurs in America the way it does in Europe?
My answer - I have found the native fey to have a different system that is less monarchy based. But I would say that the ones who migrated over with the human populations did bring with them their social structures, including Kings and Queens and courts. How strong those are in each area will depend on different things, I think, including what sorts of Fey have strongly ingrained themselves there.
My answer - I have found the native fey to have a different system that is less monarchy based. But I would say that the ones who migrated over with the human populations did bring with them their social structures, including Kings and Queens and courts. How strong those are in each area will depend on different things, I think, including what sorts of Fey have strongly ingrained themselves there.
Aleja also asks about urban fey, and whether some Fey actually like iron, steel, and concrete?
My answer - there are definitely urban Fey, and have been for as long as there have been urban areas. There are also some fairies who do like iron and artificial materials. Mine fairies, for example, aren't bothered by metals and definitely don't mind being around human enterprise and construction. Gremlins are another type of fey being that are particularly connected to modern construction and metal.
My answer - there are definitely urban Fey, and have been for as long as there have been urban areas. There are also some fairies who do like iron and artificial materials. Mine fairies, for example, aren't bothered by metals and definitely don't mind being around human enterprise and construction. Gremlins are another type of fey being that are particularly connected to modern construction and metal.
Branwen asks what my experience has been in differentiating between European fairies and American ones.
My answer - well, in all honesty being able to see them probably helps me here. Sometimes just looking at a being can help differentiate what it is and what it's origins are - the local Fey here for example are small people whose skin looks like rock, and who have black hair and eyes, which is pretty distinctive from anything else ime. Otherwise though I think its like trying to figure out what specific kind of fairy it is in any context, which is about looking at where it is, what it's doing, what it seems to want, what annoys it or pleases it, and so on. It can certainly get tricky around here trying to be sure whether a fox-looking fey is something native, a húli jīng, or something Celtic that shapeshifts.
My answer - well, in all honesty being able to see them probably helps me here. Sometimes just looking at a being can help differentiate what it is and what it's origins are - the local Fey here for example are small people whose skin looks like rock, and who have black hair and eyes, which is pretty distinctive from anything else ime. Otherwise though I think its like trying to figure out what specific kind of fairy it is in any context, which is about looking at where it is, what it's doing, what it seems to want, what annoys it or pleases it, and so on. It can certainly get tricky around here trying to be sure whether a fox-looking fey is something native, a húli jīng, or something Celtic that shapeshifts.
River asks what I think about human interactions with the fey relating to categories like worship, friendship, propitiation, and avoidance?
My answer - I think there's many layers to how anyone can choose to interact with them. Avoidance/propitiation is generally the safest and the most traditional. I usually recommend most people stick with that to be safe, unless they want to take on the responsibility that comes with stepping it up to another level. I think there's a place for establishing friendships/alliances especially for practicing witches, but there's risk to it, and that has to be considered. I'm not sure a true peer to peer concept is functional, but they certainly will barter and make deals. Worshiping them gets really tricky because then we have to start looking at the individuals instead of the generalities. Some fairies were Gods, or are strongly connected to Gods, and they deserve worship as much as any other pagan deity (take that as you will).
My answer - I think there's many layers to how anyone can choose to interact with them. Avoidance/propitiation is generally the safest and the most traditional. I usually recommend most people stick with that to be safe, unless they want to take on the responsibility that comes with stepping it up to another level. I think there's a place for establishing friendships/alliances especially for practicing witches, but there's risk to it, and that has to be considered. I'm not sure a true peer to peer concept is functional, but they certainly will barter and make deals. Worshiping them gets really tricky because then we have to start looking at the individuals instead of the generalities. Some fairies were Gods, or are strongly connected to Gods, and they deserve worship as much as any other pagan deity (take that as you will).
Mara asks how to handle connecting to or honouring the fairies when you have children.
My answer - All of my children have been warded very carefully until they were older. This has included iron in their rooms, as well as broom (the herb), rowan, and saint Brighid's crosses. I also teach them from a very young age how to behave and how to stay safe. In traditional cultures children would be taught from birth what to do and what not to do relating to fairies and that's an approach we honestly need to keep up today in paganism.
My answer - All of my children have been warded very carefully until they were older. This has included iron in their rooms, as well as broom (the herb), rowan, and saint Brighid's crosses. I also teach them from a very young age how to behave and how to stay safe. In traditional cultures children would be taught from birth what to do and what not to do relating to fairies and that's an approach we honestly need to keep up today in paganism.
Vyviane asks in cases where Christian prayers are effective protections against them why do they work? Would pagan prayers work the same way?
My answer - I suspect that Christian prayers work in many cases because they are designed to be magical charms as much as prayers. I also suspect they may drive off some fairies who are offended by them, rather than that they have any actual power over the fairies. In my experience pagan prayers substituted for Christian ones generally don't work, although called on a specific deity associated with the fey that they may be cautious of can be effective. In the Irish this can be any of the Tuatha De Danann because they all have connections to the sí. In the Norse this might include Freyr or Odin, and in the Germanic more generally you might call on Berchta, Perchta, or Frau Holle.
My answer - I suspect that Christian prayers work in many cases because they are designed to be magical charms as much as prayers. I also suspect they may drive off some fairies who are offended by them, rather than that they have any actual power over the fairies. In my experience pagan prayers substituted for Christian ones generally don't work, although called on a specific deity associated with the fey that they may be cautious of can be effective. In the Irish this can be any of the Tuatha De Danann because they all have connections to the sí. In the Norse this might include Freyr or Odin, and in the Germanic more generally you might call on Berchta, Perchta, or Frau Holle.
Jonathan asks what do I think most contributed to the shift from fairies as fearsome beings deserving respect to the modern concept of Disney-fied Tinkerbells?
My answer - I blame the Victorians. Mostly.
My answer - I blame the Victorians. Mostly.
Cathi asks how do pets usually act around fairies?
My answer - it will vary by pet. In my experience dogs don't seem to be bothered by them. Cats are either co-conspirators in mischief or else tormented by them. I have personally found that when dogs stare at empty space its usually ghosts, while when cats do it its usually fairies.
My answer - it will vary by pet. In my experience dogs don't seem to be bothered by them. Cats are either co-conspirators in mischief or else tormented by them. I have personally found that when dogs stare at empty space its usually ghosts, while when cats do it its usually fairies.
Cathi also asks can you escape a fairy by crossing running water?
My answer - depends on the fairy. It's said that if you cross running water you'd be safe from a kelpie pursuing you, for example, but there is also a story of a man who fled to America to get away from a Leannán Sí and she followed him anyway proving that the ocean was no barrier. And the Slua Sí are regularly said to cross water. For those that the answer is yes I suspect that its less that the water itself stops them and more that they are territorial by nature and won't chase you beyond their territory.
My answer - depends on the fairy. It's said that if you cross running water you'd be safe from a kelpie pursuing you, for example, but there is also a story of a man who fled to America to get away from a Leannán Sí and she followed him anyway proving that the ocean was no barrier. And the Slua Sí are regularly said to cross water. For those that the answer is yes I suspect that its less that the water itself stops them and more that they are territorial by nature and won't chase you beyond their territory.
Diana asks if we should give traditional offerings like bread, milk, or whiskey or should instead offer things we like to eat now.
My answer - The traditional offerings have a lot of symbolic meaning beyond their actual value, for example both bread and milk are symbols of life and vitality and the name for whiskey in irish is literally 'water of life' [uisce beatha]. they also have the power that comes with multiple hundreds of years of tradition. I've found that cream and bread (or cake) is well received as are other traditional offerings like water or whiskey. I have also found that sharing anything that we are currently eating - literally sharing a meal - is also well received.
The only things I would personally caution against offering are heavily processed or preserved foods or meats. I avoid offering meat, generally, because it will draw the sort of fairy that prefers meat and that may not be a good idea. And it's generally understood in folklore that fairies don't consume the physical item but its essence - variously referred to as the toradh, quintessence, or foyson - which is most abundant in fresh foods and least present in heavily preserved foods.
My answer - The traditional offerings have a lot of symbolic meaning beyond their actual value, for example both bread and milk are symbols of life and vitality and the name for whiskey in irish is literally 'water of life' [uisce beatha]. they also have the power that comes with multiple hundreds of years of tradition. I've found that cream and bread (or cake) is well received as are other traditional offerings like water or whiskey. I have also found that sharing anything that we are currently eating - literally sharing a meal - is also well received.
The only things I would personally caution against offering are heavily processed or preserved foods or meats. I avoid offering meat, generally, because it will draw the sort of fairy that prefers meat and that may not be a good idea. And it's generally understood in folklore that fairies don't consume the physical item but its essence - variously referred to as the toradh, quintessence, or foyson - which is most abundant in fresh foods and least present in heavily preserved foods.
Morrigan asks if the Fey are loyal and if so how do they show loyalty?
My answer - Yeats once wrote that the fairies have 'unmixed emotions' and I have found this to be true. If they consider you one of theirs in some way they are very loyal - the flip side of that though is they take any perceived betrayal very very badly. they reward those who are loyal to them with prosperity and good luck. they punish those who betray them with ill-luck and madness. We see this in stories where a person who proves true is rewarded over a lifetime, but someone who betrays their trust in some way (often by talking too much or bragging) not only loses whatever blessings they've gotten but is often punished harshly. For example one girl who had a fairy lover told her secret to her sister, who in turn told others; her fairy lover left her in retaliation and the girl went mad.
I guess the answer then is that loyalty goes both ways and has consequences.
My answer - Yeats once wrote that the fairies have 'unmixed emotions' and I have found this to be true. If they consider you one of theirs in some way they are very loyal - the flip side of that though is they take any perceived betrayal very very badly. they reward those who are loyal to them with prosperity and good luck. they punish those who betray them with ill-luck and madness. We see this in stories where a person who proves true is rewarded over a lifetime, but someone who betrays their trust in some way (often by talking too much or bragging) not only loses whatever blessings they've gotten but is often punished harshly. For example one girl who had a fairy lover told her secret to her sister, who in turn told others; her fairy lover left her in retaliation and the girl went mad.
I guess the answer then is that loyalty goes both ways and has consequences.
Lauren asks how do They appear to me?
My answer - There's a lot of diversity here depending on how the question is intended. If we mean how do They appear as in, in what way, then I would say they appear in dreams, Journeys, and the waking world. If we mean how do they look (appear) to me then that depends entirely on what kind of being we are talking about, but I've seen everything from hounds and horses to people the size of moths to human-sized people, from things with wings to things that could pass as human if they tried.
My answer - There's a lot of diversity here depending on how the question is intended. If we mean how do They appear as in, in what way, then I would say they appear in dreams, Journeys, and the waking world. If we mean how do they look (appear) to me then that depends entirely on what kind of being we are talking about, but I've seen everything from hounds and horses to people the size of moths to human-sized people, from things with wings to things that could pass as human if they tried.
Amanda asks if the Unseelie can ever behave in helpful or useful ways?
My answer - yes, they can. In my experience and in folklore there are examples of beings within the Unseelie Court who can interact positively with humans. The difference between them and the Seelie Court though is that whereas the Seelie would be more inclined to help any human who acts well the Unseelie would only do this for a particular individual, usually for a reason. What that reason is will depend on a lot of things, from a favor owed to just plain liking that person for their own reasons.
Caution is always required with the Unseelie simply because they are most likely to do humans harm without reason and to take offense over things.
My answer - yes, they can. In my experience and in folklore there are examples of beings within the Unseelie Court who can interact positively with humans. The difference between them and the Seelie Court though is that whereas the Seelie would be more inclined to help any human who acts well the Unseelie would only do this for a particular individual, usually for a reason. What that reason is will depend on a lot of things, from a favor owed to just plain liking that person for their own reasons.
Caution is always required with the Unseelie simply because they are most likely to do humans harm without reason and to take offense over things.
Anna asks if elementals and fairies are the same?
My answer - I do realize that many people today lump elementals in with fairies - thank you alchemy! - but I don't. I see them as distinctly different types of beings and while I appreciate that some people find it easier to divide fairies up by elemental association its never been a system that works for me. I tend to stick to the older ideas of trooping or solitary, Seelie or Unseelie, or to group them by location, ie mountain fairies, lake fairies, mound fairies, etc.,.
My answer - I do realize that many people today lump elementals in with fairies - thank you alchemy! - but I don't. I see them as distinctly different types of beings and while I appreciate that some people find it easier to divide fairies up by elemental association its never been a system that works for me. I tend to stick to the older ideas of trooping or solitary, Seelie or Unseelie, or to group them by location, ie mountain fairies, lake fairies, mound fairies, etc.,.
So that covers all the questions I had received on social media. I hope people find those answers helpful, or at least interesting. I'll repeat that this is my own experience and opinion and other people may agree or disagree. Also I tend to use the term fairy as a catch-all for any Otherworldly being, but I acknowledge that there are a wide array of specific beings and many differences within the wider category.
Tuesday, December 12, 2017
Respecting Fairy Places ~ An Excerpt from 'Fairies'
Since my new book 'Fairies: A Guide to the Celtic Fair Folk' was just released last Friday, I thought today I'd like to share an short excerpt from that work. what follows is from the introduction and is looking at how we can, and why we should, respect places that belong to Themselves:
Respecting Their
Places
Many
people lump nature spirits in with fairies and that is both true and untrue.
Fairies are a broad category of beings and they can and do include both beings
of this world and beings from the Otherworld that choose to come here. In the
next chapter we will take an in-depth look at the Otherworld but I want to
discuss here the importance of showing proper respect to the locations in our
own world that are associated with or claimed by the fairies, whether that
means true nature spirits or not.
A
land spirit or the spirit of a natural feature like a tree or plant is strongly
connected to the place it calls home. This is only logical really, as that
physical place or object is for them like our body is for our soul – it acts
like an anchor for the spirit in this world. If you think of it this way then
it’s easier to understand why we should be careful and respectful of places
that belong to these spirits. This doesn’t necessarily mean that all natural
spaces should be inviolate, life after all is a cycle of growth and death and
it can involve destruction, but just like we should show respect to the animals
and plants we use for food, we owe respect to the natural places and the
spirits that inhabit them. It’s also always good to keep in mind that nature
spirits have the ability to influence the mood and atmosphere of a place, so
happy nature spirits are always better than angry ones. Generally angry land
spirits will express their feelings by making the area they influence
unpleasant, causing the atmosphere of the area to be uneasy or unhappy, or
cause bad dreams in people living nearby.
Respecting
nature spirits is a straightforward proposition: don’t be needlessly
destructive, don’t take down trees, move larger rocks, or make any big changes
to an area without giving the land spirits a bit of notice (I recommend a
couple days), and don’t muck up natural places in your yard or local woods with
human junk or refuse. If there is a particular nature spirit, like that of a
tree, that you want to connect to you can make offerings to it and talk to it.
Offerings are also a good idea if you do have to do major landscaping or tree
removal; honey works well, as does planting new growth or working to clean up
any human messes.
Besides
land spirits which exist as an intrinsic part of the world around us there are
also places that belong to the fairies which are spirits of the Otherworld.
These are not land spirits and are not tied to the land in these places but
they have laid claim to them and feel a strong sense of ownership about them. Folklore
and modern anecdotes show that interfering with or damaging places that belong
to the fairies is a profoundly bad idea, and that they tend to respond in a
fairly direct fashion. In Iceland both road construction and drilling that
upsets the Hidden Folk tends to result in machinery breaking, ill luck, and
strange happenings until the construction stops or the damage – usually to a
boulder which is associated with them – is repaired. In Ireland folklore says that
to interfere with a fairy tree or fairy hill can result in bad luck, illness,
or even death. They are also not averse to destroying the offending human
construction that is on their territory; one recent event in 2007 that made the
news in Ireland was a series of telephone poles too close to a fairy hill which
kept mysteriously falling down.
Traditionally
places that belong to the fairies are best left alone; it is unwise to
interfere with them or build on them. There are many stories, not only in Ireland
but also in Iceland, of people who damaged or dug into fairy places only to
suffer great ill luck, illness, or even death. In some cases even going into a
place that belonged to the fairies posed a risk; in one story from Ireland a
young man interfered with a well that was known to belong to the Fair Folk and
in response they cursed it; when the man next went to drink from it he fell in
and drowned (Ballard, 1991). If you choose to visit them it is best to do so
during the day and to be careful not to leave behind a mess. It’s also advised
not to relieve yourself on the ground in the area, as that is known to offend
them as well. Add to that a general suggestion not to say anything in those
areas especially that belittle or question their power or influence because
they do respond to verbal insults. As long as you are careful not to break
things, not to leave behind trash, and not to verbally provoke them you should
be alright.
Saturday, November 11, 2017
That Time I Unseelied a Tree, and Why You Should Too
So first a story.
I have a fairy tree in my yard and I had the idea at one point to start tying ribbons on it, in the spirit of the rag tree tradition. Now usually a rag tree is by a healing well and the ribbons or bits of cloth tied on it represent prayers for healing of either the person or someone they are praying for. I knew this but still felt drawn to put ribbons on my own tree, and I don't deny I did it badly, because I simply used store bought ribbon. I can say here that my intentions were good, but I've never been a big believer that intentions mitigate harm caused. After a time the tree had quite a lot of ribbons on it, and after a time I started feeling strongly that I needed to take them off - I was even dreaming about it. But I really, really didn't want to remove them. It seemed counterintuitive and sacrilegious to do so, to remove what had been place with prayer and its own little ritual. Yet in the end it became a compulsion, and one day as I walked past the tree on my way to my car I found myself stopping, unable to go on until I removed the ribbons. I went back into the house, found a pair of scissors, and spent enough time that I was late to work taking all the ribbons off. Afterwards I felt a blend of relief and horror at having, effectively, 'unseelied' (unblessed) my tree.
Here's the thing though, as upsetting as it was for me to take those prayer ribbons off that tree, and as much as I felt like I was doing something wrong - was in effect unblessing the tree - what I did was important and necessary. The ribbons I'd put on were synthetic fibers; they were not rotting away with time but instead were strangling the branches they were tied on. In several places when I managed to get the ribbon off there was a clear indent in the branch where the ribbon had started to grow into the tree, and it was obvious to me the harm my actions had caused. I had made a critical mistake in not using natural material and in not tying it loosely so that it would either fall apart naturally or be pulled off by the wind. My well meaning actions would have killed my tree eventually, and removing the ribbons, as much as it pained me to do it, saved it.
That said, there are two main points I want to make here, first about participating in rag tree practices and secondly about removing things already tied to trees at sacred sites.
Here's the thing though, as upsetting as it was for me to take those prayer ribbons off that tree, and as much as I felt like I was doing something wrong - was in effect unblessing the tree - what I did was important and necessary. The ribbons I'd put on were synthetic fibers; they were not rotting away with time but instead were strangling the branches they were tied on. In several places when I managed to get the ribbon off there was a clear indent in the branch where the ribbon had started to grow into the tree, and it was obvious to me the harm my actions had caused. I had made a critical mistake in not using natural material and in not tying it loosely so that it would either fall apart naturally or be pulled off by the wind. My well meaning actions would have killed my tree eventually, and removing the ribbons, as much as it pained me to do it, saved it.
That said, there are two main points I want to make here, first about participating in rag tree practices and secondly about removing things already tied to trees at sacred sites.
Many people today either want to emulate the rag tree practices or look at participating in it while visiting Ireland (or other countries that have the practice) and I am urging everyone to please seriously consider what you are tying to these trees. Recently there have been some good discussion of the importance of proper rag tree practices online both by the Tara Skryne Preservation Group and other travel pages. If you want to tie a rag on a sacred tree you need to be aware firstly that rag trees are very specific trees, usually by a holy well as I've mentioned, and that you can't and shouldn't tie just anything onto the tree. Every tree you run across is not appropriate to tie things to, and just because it's at a sacred site doesn't make it a tree to tie prayers to. Also if you are going to tie things to a tree please use natural, degradable materials. And please don't push coins in o the bark, that will poison the tree.
When you visit sacred sites and holy wells you will see many strange things tied to rag trees. Some people believe it best to leave what is already tied there alone; others advocate for removing what is and will harm the tree. This is a complicated subject because there are issues with people removing all rags from rag trees, and even cutting the trees down, in protest against the practice itself and I am by no means advocating that. However as an animist and pagan I do think we have an obligation to put the health of the tree before the symbolism of the plastic and synthetic material that is tied to it and slowly killing it. Natural material is fine and should be encouraged, but what amounts to rubbish if left there will only kill the tree that people claim to find sacred.
The reason I began this with my story was to make a point. I was deeply reluctant to take those ribbons down, even though they were my ribbons and I was being told repeatedly to remove them. There was a discussion on a sacred sites travel group I belong to recently about whether it's ethical to remove other people's ribbons from sacred trees, and in my opinion you should, even though I understand the reluctance to remove other people's prayers. Understand it on a deeply personal level. There is an almost atavistic aversion - in my experience - among spiritual people against interfering with other people's spiritual devotions. Yet ultimately we need to look beyond the intention of what have been tied on the trees and to the spirit of the trees and land itself. If we are seeking to respect those spirits, seeking to truly be blessed by these holy places, then we must act in ways that are aligned with that concept. Doing things that kill the sacred trees, ultimately are unblessed - unseely - actions. Removing plastic, non-biodegradable, metal items, no matter what sacred intent was behind their placement is ultimately a blessed, or seely, act because it saves the life of the tree. I titled this post 'the time I unseelied a tree' because that was how it felt, and it was a terrible conflicted feeling. But sometimes we must do what feels wrong in order to ultimately do that which is right.
Removing those ribbons felt like unseelie'ing the tree but in the end it resulted in an increased blessing, and much happier spirits. And I don't regret doing it at all.
The reason I began this with my story was to make a point. I was deeply reluctant to take those ribbons down, even though they were my ribbons and I was being told repeatedly to remove them. There was a discussion on a sacred sites travel group I belong to recently about whether it's ethical to remove other people's ribbons from sacred trees, and in my opinion you should, even though I understand the reluctance to remove other people's prayers. Understand it on a deeply personal level. There is an almost atavistic aversion - in my experience - among spiritual people against interfering with other people's spiritual devotions. Yet ultimately we need to look beyond the intention of what have been tied on the trees and to the spirit of the trees and land itself. If we are seeking to respect those spirits, seeking to truly be blessed by these holy places, then we must act in ways that are aligned with that concept. Doing things that kill the sacred trees, ultimately are unblessed - unseely - actions. Removing plastic, non-biodegradable, metal items, no matter what sacred intent was behind their placement is ultimately a blessed, or seely, act because it saves the life of the tree. I titled this post 'the time I unseelied a tree' because that was how it felt, and it was a terrible conflicted feeling. But sometimes we must do what feels wrong in order to ultimately do that which is right.
Removing those ribbons felt like unseelie'ing the tree but in the end it resulted in an increased blessing, and much happier spirits. And I don't regret doing it at all.
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