Medieval Irish Literature: The Táin - Fedelm, The Woman Poet of Connacht.
Dia duit, a cairde,
I would like to share you all a story from Ireland, passed down to us from within the Táin. It is not a story in its own right, but it is a short tale of a girl named Fedelm. I tell of her story with more attention than there was meant to be, but you will all find delight in it nonetheless. Although a minor character within the Táin, she tells of the doom that lies ahead for a great army ready to march. Here is her tale:
The charioteer turned the chariot around and made to set off. But they saw a young grown girl in front of them. She had yellow hair. She wore a speckled cloak fastened around her with a gold pin, a red-embroidered hooded tunic and sandals with gold clasps. Her brow was broad, her jaw narrow, her two eyebrows pitch black, with delicate dark lashes casting shadows half down her cheeks. You would think her lips were inset with Parthian scarlet. Her teeth were like an array of jewels between the lips. She had hair in three tresses: two wound upward on her head and the third hanging down her back, brushing her calves. She held a light gold weaving-rod in her hand, with gold inlay. Her eyes had triple irises. Two black horses drew her chariot, and she was armed.
“What is your name?” Medb said to the girl.
“I am Fedelm, and I am a woman poet of Connacht.”
“Where have you come from?” Medb said.
“From learning verse and vision in Alba (Scotland),” the girl said.
“Have you the imbas forasnai, the Light of Foresight?” Medb said.
“Yes I have,” the girl said.
“Then look for me and see what will become of my army.”
So the girl looked.
Medb said, “Fedelm, prophetess; how sees thou the host?”
Fedelm said in reply:
“I see it crimson, I see it red.”
“It can’t be true,” Medb said. “Conchobor is suffering his pangs in Emain with all the rest of the Ulster warriors. My messengers have come from there and told me. Fedelm, prophetess; how sees thou our host?” Medb said.
“I see it crimson, I see it red,” said the girl.
“That is false,” Medb said. “Celtchar mac Uthidir is still in Dún Lethglaise with a third of Ulster’s forces, and Fergus son of Roach mach Echdach and his troop of three thousand are here with us in exile. Fedelm, prophetess; how sees thou our host?” Medb said.
“I see it crimson, I see it red,” said the girl.
“It doesn’t matter,” Medb said. “Wrath and rage and red wounds are common the armies and large forces gather. So look once more and tell us the truth. Fedelm, prophetess; how sees thou our host?”
“I see it crimson, I see it red,” said the girl.
“I see battle: a blond man with much blood about his belt and a hero-halo round his head. His brow is full of victories.
Seven hard heroic jewels are set in the iris of his eye. His jaws are settled in a snarl. He wears a lopped, red tunic.
A noble countenance I see, working effect on womenfolk; a young man of sweet coloring; a form dragons in the fray.
His great valor brings to mind Cúchulainn of Murtheimne, the hound of Culann, full of fame. Who he is I cannot tell but I see, now, the whole host colored crimson by his hand.
A giant on the plain I see, doing battle with the host, holding in each of his two hands four short quick swords.
I see him hurling against that host two gae bolga and a spear and an ivory-hilted sword, each weapon to its separate task.
He towers on the battlefield in breastplate and red cloak. Across the sinister chariot-wheel the Warped Man deals death - that fair from I first beheld melted to a mis-shape.
I see him moving to the fray: take warning, watch him well, Cúchulainn, Sualdam’s son! Now I see him in pursuit.
Whole hosts he will destroy, making dense massacre. In thousands you will yield your heads. I am Fedelm. I hide nothing.
The blood starts from warrior’s wounds - total ruin - at his touch: your warriors dead, the warriors of Deda mac Sin prowling loose; torn corpses, women wailing, because of him - the Forge-Hound.”
Source: Thomas Kinsella trans., The Táin - From the Irish epic Táin Bó Cuailnge. (Oxford University Press, 1969), 60-64.
I hope I’m not the only one whom gets an uneasy feeling when the spoiler shows a upgrade fake death again. Don’t get me wrong, I don’t hate Makarov or anything but. just. somehow. it quite destroyed all the meaning, motivation it caused after that. And I don’t like the idea joking around by someone’s passing way, this is not the second times he applied to this character. I can foreshadow the familiar of FT’s ending now omg, nothing changes, let’s admire the level imba of this guild, win over a entire empire leading by a dark mage 400+ yrs old without any damage. All the tears and blood and broken bones will be easily revived effortless. I’m so impressed.
And to me, the sacrifice of Ultear will forever last touchy impression than others.
Zervis finally has the best predictable ending. No comment.
For those who may not know, a flying ointment is a salve or oil infused with psychoactive herbs purportedly used by witches to fly to their Sabbath rites in the early modern period during the height of the witch hunts in Europe. Early witch hunters perpetuated the myth that witches craft their ointments from the rendered fat of babies, but it was only fear-mongering propaganda.
Animal fats were used as the base to extract the potent oils and alkaloids from these poisonous plants because animal fats were convenient and accessible even to the poor. Today with the help of modern science we know that our skin will absorb a salve made with hog’s lard more quickly and easily than any other substance because our genetics are so similar to a pig’s. Adding plant-based oils to an animal fat remedies the problem of absorbing a substance foreign to our bodies. Our ancestors were pretty clever weren’t they?
Some may think flying ointments only go back as far as the Middle Ages as the majority of written accounts and recipes are from that period. But if we look in mythology, ancient literature, and folktales, we find a rich source of lore that leads back to pre-Christian times. Flying ointments are mentioned in Apollonius Rhodius’ The Argonautica from 200 BCE, Lucius Apuleius’ The Golden Ass from around 160 CE, and the oldest possible reference is in Homer’s The Iliad from around 800 BCE where the goddess Hera uses an oil of ambrosia to fly to Olympus, never touching the earth. To hear excerpts on flying ointments from these and other works listen to HedgeFolk Tales episode VIII: Flying Ointments.
So now we know flying ointments go at least as far back as ancient Greece and Rome, but what about even further back into history? Remains found of henbane, belladonna, and marijuana in Scotland and Northern Europe date as far back as the Neolithic period – that’s at least 10,000 years ago! (1) These plants were mostly found in the form of seeds and remnants of ritual alcoholic beverages so it is not known if they were used in salves by the magical practitioners of the time, but the pits upon pits of animal bone refuse show that Neolithic peoples had easy access to animal fats. It’s not too far off, I think, to put the two together – but it’s just this witch’s hopeful estimation.
What are the Herbs Used?
Most flying ointment recipes include plants from the Solanaceae family; you may recognize some or all of them: belladonna, datura, henbane, and mandrake. Other traditional flying ointment herbs include the opium poppy, water hemlock, monkshood, and foxglove. Wherever these plants are to be found, so are witches. Our symbiotic relationship with these poisonous plants goes back into the far reaches of time
Solanaceae contain the alkaloids atropine, hyoscyamine, and scopolamine. The tropane compound within the Solanaceae family can cause heart problems or even heart failure among other issues when ingested, but if you use them externally they are much less dangerous, however careful dosage is still needed to avoid things like permanent blindness and death. The other well-known ingredients of foxglove, hemlock, aconite (also known as monkshood) should never be used in modern ointments now that we know better – they only poison and paralyze.
Traditional less poisonous plants used include balm of gilead, calamus root, cannabis, clary sage, dittany of Crete, mugwort, tansy, wormwood, and yarrow. There is a bit of controversy whether fly agaric or other psychoactive mushrooms were used and if their constituents are even fat-soluble, but there is currently no documentation on the subject to prove or disprove it. Balm of gilead (the buds of any poplar tree species) can be found in almost every flying ointment recipe from the Middle Ages as poplar salves were used for healing much more than they were used by witches for flying. Do not use balm of gilead if you are allergic to aspirin. The flying effects of calamus root are best felt from ingestion rather than topical application so I would only recommend adding it for its metaphysical properties and sweet smell. If you use calamus make sure it is the carcinogen-free speciesAcorus calamus americanus native to N. America.
Mugwort, oreganos (including dittany of Crete), sages (including clary sage), tansy, and wormwood contain thujone which is a stimulant and believed to be the cause of their psychoactive properties. Yarrow, while not having psychoactive properties, has been traditionally used by shamans for centuries to protect the body while the soul is journeying and to aid in bringing the soul and the person back to consciousness (3). Yarrow was more commonly burned as a smudge for these purposes, but can be smoked or added to a salve as well.
Modern Flying Ointments
“…despite the fact that none of the ‘modern witches’ themselves have any experience with the plants, they warn about the poisonous additives… [I]t is considered trendy to brew ‘modern flying ointments, guaranteed to not be poisonous.” The recipes are nothing more than ineffective rubbish.”
Like Rätsch I’ve seen numerous “crafty” witch books in the neoPagan market carelessly list the poisonous ingredients of Medieval flying ointment recipes with no dosages and then, in bold font with many an asterisk, tell the reader to never to attempt to make or use the recipes. Then the authors proceed to list two or more non-toxic flying ointment recipes that usually contain herbs and essential oils completely unrelated to soul-flight and otherworld travel. Many online Pagan shops are selling such recipes right now. An ointment that smells pretty but does nothing is only going to result in very pissed off witches.
My advice to you is to avoid modern flying ointments lauding their non-toxic properties as all that will happen is you’ll have $10-40 less than you did before (unless it’s one of Harry’s ambrosial flying oils, of course). You should also be very careful of people selling supposed “genuine” flying ointments with the traditional herbs, but who don’t list their ingredients or give health warnings. This is very dangerous as many people are allergic to these herbs or have heart conditions and could be seriously harmed, ending up in the hospital.
How a Flying Ointment Works
The alkaloids present in the traditional herbs used in flying ointments and other preparations have been shown by scientific experiments to activate your pineal gland by increasing the flow of melatonin inducing a dream-like state while you are awake. Normally, this only happens naturally at night while you are enshrouded in darkness. This results in dream-like experiences and visions that may seem completely real even if you are sitting awake in your kitchen and not flying as a hawk in the sky. I personally differentiate this state from hallucination as it is more of an altered mental state akin to lucid dreaming and is much more relaxed. To enhance this natural effect while using a flying ointment, use it in darkness or at night, and alongside ecstatic trance inducing methods.
Psychoactive plants are believed to remove the barriers between our world and the world of the spirits and gods; they essentially are keys to the otherworld door and, some would say, to the entire universe. Consciousness is like seeing the world through a keyhole as there’s only so much you are able to see – we are too busy looking at the limited amount of what we can see, naming, cataloguing, and trying to explain everything in our field of vision, that we do not see what is beyond the keyhole or what is behind us in the dark. Now what if someone gave you a key? Would you put it in the lock and turn it to open the door and see all the wonders and horrors on the other side? Flying ointments are one such key.
Flying ointments are used to aid in trance, astral travel, and spirit work, to receive divine inspiration (awen, imbas, the cunning fire), to help release the spirit from the body, for hedgecrossing, for shapeshifting, or to enhance or access powers for magic, rituals, and spellwork.
How to Use a Flying Ointment
Before you use an ointment in a ritual setting I recommend first doing a tiny test patch on a piece of bare skin to make sure you don’t have an allergic reaction. Then I would recommend testing out its strength and your tolerance. When you do this, you should have a friend with you or someone you’ve told your plans to who you can call in case of emergency. Use only a small amount to start testing your level of tolerance – a pea-sized amount is good. Wait to see how you feel. Always wait a minimum of 30 min to feel the effects before using more salve. If you are comfortable with the level of effects you are feeling, stop there, and then apply that same amount for ritual use. If it’s not enough, apply another pea-sized amount to your bare skin and increase as needed. The Effects may take 30 minutes to 2 hours to appear depending on sex, weight, and tolerance and may last 1-6 hours. Depending on your height and weight, 1-2 tsps of ointment is a standard dose for a smaller person and 2-3 tsps for a larger person. Flying Ointments can be mixed with cannabis and alcohol, but before doing so make sure you have tested the ointment alone first in case of any adverse reactions.
To use for magic and ritual, whisper to your jar of salve and reveal your intent; do you want to achieve soul-flight, shapeshift into an owl, borrow the plant’s powers for a spell? Then say so out loud to the plants and any spirits and deities you have called. You could say something along the lines of “as I anoint my body with this salve my spirit will loosen from its flesh and fly from here to [desired location].” If you are using a flying ointment for a group ritual, it is best for everyone to share a common purpose for its use.
The myth that witches apply flying ointment to their genitals or their brooms and “ride” them is exactly that, a myth. I found one reference to it in a witch trial under torture and the other references come from it and are sensationalist prose written by poets inspired by the trial. There are other accounts of witches rubbing ointments on chairs and tables and sitting on them, but there is no penetration. As a witch who makes and uses flying ointments I’ve found it is not necessary to anoint one’s mucous membranes for quick absorption (please don’t rape your broom or staff). Many of the plants used are very toxic and very potent and you do not want them near your sensitive bits as they can cause skin abrasions, rashes, and worse discomforts and you wont’ be able to wash it off. Please keep anything with henbane or belladonna away from your genitals and mucous membranes!
The only ointment I’ve found safe for one’s naughty bits is a pure mandrake ointment which can be used for sex magic by anointing each partner’s sex organs before doing the deed. Magically, the best places to apply a flying ointment are the base of the neck for the spine’s connection to the World Tree, the third eye, over the heart, the armpits (for wings), and the soles of the feet. Where your neck meets your spine and the third eye are especially effective because they are doorways in and out of your body.
To get the most out of your experience use a flying ointment in an atmospheric setting; in your decked-out temple room, in a pitch black space, under the moon and starlight, a beautiful spot in nature, or a place of threshold power (a place with water, land, and sky all present, a place between civilization and the wilds, a hedge, etc). Results are better when ointment use is combined with trance-inducing activities such as chanting, dancing, swaying, drumming, or breath work.
What to Expect
I need to say this as clearly as possible: the purpose of a flying ointment is NOT to “trip out” or “trip balls”. If you are hoping to pass out and hallucinate for days, losing all sense of reality, you will be sorely disappointed and should look elsewhere. Flying ointments are an aid, a tool for those with the gift — not a cannon that will shoot you to the otherworld. Flying ointments and their traditional plants are meant to be an aid for visionary experiences, not a wreaking ball to your sanity. If you hallucinate erratically a) your body and brain are freaking out and don’t know how to handle the alkaloids in the poisonous plants because it’s your first time ever using them, or, b) you’ve overdosed and need to cut way back on the dosage (you might also need to make a trip to the ER if they’re severe enough). Uncontrollable hallucinations are the body’s way of dealing with foreign chemicals that have effects our systems aren’t used to. Those who have never tried shrooms, cannabis, ecstasy, LSD, acid, and, heck, even wormwood and damiana before are more likely to experience hallucinations than someone who has tried them and knows what to expect. The more relaxed you are, the less likely you are to have a bad reaction.
What does a healthy reaction to a flying ointment feel like? It should feel like you are intoxicated; lightheadedness, silliness, and euphoria at first. Your pupils will dilate and your cheeks flush. You may experience dry mouth and blurry vision depending on what herbs are in the ointment (these effects are temporary). After, the experience should deepen, and colour, sound, smell, sight, and taste will all be enhanced. You will experience the mundane world differently and you may feel awe, amazement, and wonder at what you see and feel. You may have profound thoughts and realizations you normally would not. You may hear whispers or see glimpses of things you would not in ordinary consciousness. Suspension of disbelief will become easy in this dream-like state. And, when used ritually by those with the gift, you will be able to achieve things you’d never imagined when your spirit is separated from flesh; visionary experiences, shapeshifting into animals and elemental forces, long distance travel, dreamwalking, interacting with wights and shades…
Everyone’s experiences will differ and individual reactions to the plants or a combination thereof cannot be predicted. While one person’s experience may be over powering, another may experience nothing. Only use will help discover which plant or combination of plants works best for you.
Do not use flying ointments if you have a heart problem or serious kidney and liver problems. Do not use ointments containing belladonna if you are allergic to morphine and related opiates or you will have a very serious reaction and need to go to the emergency room. Do not mix with serious medications. Do not use when pregnant or breastfeeding. Do not touch your eyes, nose, or mouth after using the ointment. Keep away from children and pets. Do not drive or operate machinery while under the effects of a flying ointment. Side effects may include temporary dizziness, fatigue, and blurred vision (the latter especially if the ointment contains belladonna). Give yourself 2-5 hours to recover from the experience and get back to normal. In some cases, it may take 1-2 days to get your normal energy levels back.
If you feel hot, sweaty, nauseated, and you vomit, with no other factors contributing to it (food allergies, food poisoning, flu etc), you may be having an adverse reaction to one of the herbs (likely belladonna or datura) and should seek medical attention immediately. To reduce effects, wash the application areas with warm soapy water (or have a warm, not hot, shower), drink plenty of water, and avoid fatty foods.
It’s Almost Spring, but There’s Still Time to Try Fat Biking on Public Lands!
In just a few short years, fat biking has become one of the fastest growing winter sports in the United States. In 2014, the BLM Hartman Rocks Recreation Area near Gunnison, Colorado held its Winter Growler Fat Bike Race, and this year, the BLM showcased its outstanding winter riding opportunities at the first-ever Fat Bike Expo in Anchorage in late February.
The BLM booth at the Expo featured BLM’s partnership with the International Mountain Bicycling Association. It also featured the new National Conservation Lands recreation mapping project and the MTB Project, a mountain bike guide and trail map website presenting the top 20 BLM Backyard to Backcountry rides on public lands.
Gusto nating lokohin ang sarili natin palagi na nakakalimutan na natin yung taong gusto nating kalimutan. Pero matatawa ka dahil alam mong isa itong malakaing kalokohan. Maaring sinasanay mo ang sarili mong wala siya, pero siya at siya pa rin ang iniisip mo. Wala kang magawa kundi ang lahat ng bagay na nararamdaman mo sa kanya eh tanggapin. Minsan sinasabi na nating ok na tayong wala sila. Pero bigla ka na lang magugulat. Isang iglap na matunganga ka.. Siya bigla ang naiisip mo..
Siguro nga mahirap utusan ang puso.. Unang una wala naman itong isip at utak naman talaga ang may kasalanan ng lahat ng ito. Alam mo yun.. Yung ok ka naman. Tapos parang trip mo maging malungkot eh iisipin mo lang siya. Nakakaloko.. Minsan you can’t help but to think na masaya na kaya talaga siya? Kaya na niya talaga kayang wala ka sa buhay niya? Yung mga ganyang tanong na palaging gugulo sa isip mo.
Pero pagtapos ng araw. Tatanggapin mo na lang eh. Na wala na talaga ang lahat. Maaring naiisip natin sila. Pero malaki ang chance na hindi nila tayo iniisip. Ang galing no? After ng lahat ng ginawa sayong kagaguhan. Sa huli.. Kabutihan pa rin ng lagay niya ang iniisip mo.
Gaelic Polytheist Prayers and Offerings by Bearded Boggan
Saint-felicity asked for GaelPoly prayers, offerings and myths so I decided to offer up a few of my own works and experiences. I hope they help or inspire!
A simple offering prayer:
I give this offering to the three,
Ancestors, gods and spirits.
I give this offering freely within the three,
Land, sea and sky.
I give this in thanks for your guidance, wisdom and presence,
With reverence, respect and pride.
From my hands to yours,
Be welcome and be honored.
An Imbolc prayer:
With snow’s first retreat and the heralding of spring’s dawn, We give praise and welcome to you, Brighid. With imbas and tending of flame, We give praise and welcome to you, Brighid. With reed and the cross of your forging, We give praise and welcome to you, Brighid. With poetry and adorations of your deeds, We give praise and welcome to you, Brighid. Welcome, Lady of Poetry, Healing and Creation, Welcome and be celebrated this Imbolc day.
Brighid: incense, water, Brighid crosses made of reeds, grass, pipecleaners, etc, scones or bannocks, beer, poetry, music
Manannan Mac Lir: Reeds, whisky, shells, driftwood crafted goods, boats, well cooked fish, clever jokes/puns
Dagda: Porridge/oatmeal, beer, whisky, food stuffs in general, clubs, wooden goods, art
The Morrigan/Macha/Badb: broken weapons buried or left in offering (letter openers shaped like swords make great votives!), charred meat, whisky or other hard liquors, skulls (fake or otherwise), raven feathers, beef
(All these offering suggestions are found in books like those written by Morgan Daimler and Erynn Rowan Laurie about Irish Paganism, the Morrigan and Brighid and in my own practices and experiences/UPG.)
//I keep jumping between ideas with multimuse blogs… first I wanted to do K.imba muses, then I wanted to do my new OCs, and now I wanna bring back a bunch of my old muses and slap them on there? For those who don’t know, older muses include H.are (M.onster R.ancher), W.ulf (D.anny P.hantom), A.gent C.lassified (P.enguins of M.adagascar), and my P.ooka OC Primrose from R.ise of the G.uardians/G.uardians of C.hildhood. What if I just did ALL of these in one blog and then added new ones later that I’ve been wanting to write?
“With snow’s first retreat and the heralding of spring’s dawn, We give praise and welcome to you, Brighid. With imbas and tending of flame, We give praise and welcome to you, Brighid. With reed and the cross of your forging, We give praise and welcome to you, Brighid. With poetry and adorations of your deeds, We give praise and welcome to you, Brighid. Welcome, Lady of Poetry, Healing and Creation, Welcome and be celebrated this Imbolc day.”
Written by C. McCoy (beardedboggan.tumblr.com or bogganbeliefs.tumblr.com)
I continue to enjoy the very Buddhist phrasing of cultivating one’s practice or skills. Skillfulness and cultivation were and still are among my favorite parts of that religion. You must cultivate skillfulness. You must cultivate mindfulness. I must cultivate imbas.
Genji’s bullets deflection is always on as a passive.
Pharah is the same but she gets a shotgun for her rockets.
McCree has no gun but his roll and stun are on a 1 second cooldown. Rolling refreshes the stun cooldown.
Soldier 76 shoots the rockets as his primary on automatic.
Sombra’s hack is instant.
Reaper can shoot while being a ghost.
Tracer has infinite zipping power.
Bastion can move in turret form.
Hanzo’s scatter arrow never stops bouncing. His normal attack is now sonic arrow.
Junkrat gets a shotgun too.
Mei’s primary fire is a 100% slow.
Torbjorn’s turrets have the ability to create more turrets next to them, endlessly.
Widowmaker can shoot through walls.
D.va’s shield matrix is always on as a passive.
Orisa has 3 second cool downs on her stuff.
Reinhardt has 300% move speed and damage.
Roadhog’s hook goes through walls and has infinite range.
Winston has 1 second cool down for his jetpack.
Zarya has a 3 second cool down for her orb shields.
Ana has no cool down on sleep dart.
Lùcio’s boop sends people 10x further.
Mercy automatically resurrects allies - she must die first.
Symmetra has unlimited range on his primary attack.
Zenyatta’s discord orb increases damage by 100% and his harmony orb heals for 100% of the max health per second.
If you have the time, would you please consider making a masterlist about explaining or feeling injuries (gun wounds, being stabbed, ect)? I must admit, I am still going through your guide page to find anything. So I apologize if it there was one reblogged that I will come across. Thank you for taking the chance of even reading this. I hope you have a fine day/night!
Under a read more because there are links to over seventy categorized websites onlacerations, incisions, gunshot wounds and more. The links leading to websites with graphic images have been labeled. Viewer discretion is advised.TRIGGERS: death, blood, weapons, drowning.
I am bored so let’s gather together and show off my meditation poems. The meditation poetry project is a thing I really must make into a fucking habit and practice at. Four such poems currently exist. More will in the future. The idea of the project is to be able to purposefully bring on imbas forosnaí, as opposed to it just kind of randomly hitting me in the face. Which is fun and useful yes, but there’s precedent for practices specifically done to induce states of frenzied poetry. So why not attempt it myself? Anyway the poems.
Something hard, yet soft
Arms snaking into
Arms, moving of their own
Accord, against my will
A hand at my throat grips
Tight, light, a bright light
Lightly I ask is it you
And you say back
This one deals with very strange sensations in my arms during meditation and my asking if it was the Morrígan’s presence. Words were very hard but very insistent. They came out as a babble. One that I went through a few times before getting it “right”. Even then I feel something is missing.
The second one:
Great wings flapping
Dark feathers fluttering
In the breeze
Push up, pull down
Rising on currents
Unseen by the eye
Soaring up high
Up, up, up
To perch, to rest
Great wings watching
Dark feathers rustling
In the breeze
Eyes keen and ears sharp
Watching, waiting, listening
Spying all, catching all
All in all
Many black birds
To watch, to listen
Great wings chatting
Dark feathers rumbling
In the breeze
A great jabber
Loud clamour of caws
Many mouths move
Cawing, clawing, croaking
To share the news
To tell the truth
Great wings always
This one deals again with the Morrígan. Specifically corvids as her messengers and possibly even her.
I have words to speak and it has been a while since last I made a poem, those pretty little pocket of words rolling down the line, falling one after the other, speaking truth, if not fact. Full of feeling and life and also death, those little words you so treasure and fill the heads of others with. Fierce and fiery insistent words that must come out either on paper or in the air, for the truth will not be contained, a great torrent of words, those pretty little words, and it has been a while since last I made a poem. It has been a while, and far too long in fact.
I had taken a break from poetry as a whole for a bit because of personal reasons. I felt a need to do poetry again. I sat down. This occurred. I think “it occurred” is probably the best way I can describe some of my poems. This one is very babbly like the first.
Breath of air
The roaring wave
Tricking, fizzing foam
Between cold toes
Stinging salts burn
Encrusting rocks all
Over even metal
Raging, fighting, warring
Dancing, singing, exulting
Grieving, mourning, crying
That’s the sea
That is me
This one was done on a rock while I resting after heading out to make offerings to Manannán mac Lir on Trans Day of Visibility. There were several other poems written that day but this is the only one that was composed during meditation. Again it is very babbly and as with the others it took a while for my mouth parts to be satisfied with the result. This seems to deal with my coming conception of what I think feelings, self, and reality may well be. It is still not there yet. There is still more to find. But a crucial first step has been realizing that I am like the sea. That it is in fact me. I am now wondering if there was some other crucial bit to this all that I was supposed to get from the poem. Or if I did and I just don’t know it.
Tottering on edge
Full of need
Feeling to act
Rage and feeling
Unsure of which
A torrent, a wave
The most recent which was written yesterday. It deals with righteous fury. Something about it displeases me. Particularly that a significant chunk of it was lost because I couldn’t get the babbling down on paper. Still at least it is babbling.
//I won’t be online today but I have a question for my followers. I want to do a few streams of various J.ungle E.mperor/K.imba movies/series to help kinda prep for my eventual multimuse blog. Mind giving this post a like if you would join in?
In a way I find the arbitrary nature of language part of what makes imbas forosnaí poems so powerful. We are working with imperfect, ever changing systems which mean and do not mean things. And we find a manner in which we can use that to express, in some degree, Truth.
Dun Brython - Brythonic polytheism site, aimed at Iron Age religion rather than medieval; many shared concepts and deities with Gaul The Mabinogion - a website devoted to the Welsh Mabinogion and its history
The Ancient Celts by Barry Cunliffe Celtic Ornament in the British Isles by E.T. Leeds Celtic Warrior: 300 BC – AD 100 by Stephen Allen and Wayne Reynolds The Celtic World edited by Miranda J. Green The Celts edited by Venceslas Kruta et. al. Chronicle of Celtic Folk Customs by Brian Day Coinage in the Celtic World by Daphne Nash Dictionnaire de la langue gauloise by Xavier Delamarre Fiery Shapes: Celestial Portents and Astrology in Ireland and Wales 700-1700by Mark Williams The Forts of Celtic Britain by Angus Konstam and Peter Bull The Gallic War by Julius Caesar The Historical Atlas of the Celtic World by John Haywood The Life and Death of a Druid Prince by Anne Ross and Don Robins The Philosopher and the Druids by Philip Freeman Rome’s Enemies (2): Gallic & British Celts by Peter Wilcox and Angus McBride Rome’s Enemies (4): Spanish Armies by Rafael Martinez and Angus McBride War, Women, and Druids: Eyewitness Reports and Early Accounts of the Ancient Celts by Philip Freeman The World of the Celts by Simon James The World of the Druids by Miranda J. Green
Celtic Myths and Folklore:
Albion: A Guide to Legendary Britain by Jennifer Westwood Celtic Fairy Tales by Joseph Jacobs The Mabinogion translated by Lady Charlotte Guest The Tain translated by Thomas Kinsella
Celtic Curses by Bernard Mees The Celtic Gauls: Gods, Rites and Sanctuaries by Jean Louis Bruneaux Celtic Myths by Miranda J. Green Dictionary of Celtic Myth and Legend by Miranda J. Green The Druids by Stuart Piggot The Gods of Roman Britain by Miranda J. Green Les dieux de la Gaule by Paul-Marie Duval Monnaies gauloises et mythes celtiques by Paul-Marie Duval Pagan Celtic Britain by Anne Ross Symbol & Image in Celtic Religious Art by Miranda J. Green