Welcome to aliisaacstoryteller, guardian of Irish mythology.
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I read a post on Facebook yesterday which claimed that animal behaviorists now believe that hugging your pet is harmful for them, as it causes their stress levels to rise. Apparently, they prefer tummy rubs, stroking and treats. Well, it’s hardly surprising; they haven’t evolved to hug each other, but instead show affection by licking and grooming each other, by sharing food and curling up together to sleep. I reckon not hugging your pet is going to upset you far more than your pet.
Which got me thinking… did our ancient ancestors form the same kind of relationships with their animals as we do, or did they see them merely as a source of food and income, or beasts of burden?
Well, take a look at this…
I and Pangur Ban my cat,
‘Tis a like task we are at:
Hunting mice is his delight,
Hunting words I sit all night.
Better far than praise of men
‘Tis to sit with book and pen;
Pangur bears me no ill-will,
He too plies his simple skill.
‘Tis a merry task to see
At our tasks how glad are we,
When at home we sit and find
Entertainment to our mind.
Oftentimes a mouse will stray
In the hero Pangur’s way;
Oftentimes my keen thought set
Takes a meaning in its net.
‘Gainst the wall he sets his eye
Full and fierce and sharp and sly;
‘Gainst the wall of knowledge I
All my little wisdom try.
When a mouse darts from its den,
O how glad is Pangur then!
O what gladness do I prove
When I solve the doubts I love!
So in peace our task we ply,
Pangur Ban, my cat, and I;
In our arts we find our bliss,
I have mine and he has his.
Practice every day has made
Pangur perfect in his trade;
I get wisdom day and night
Turning darkness into light.
This poem was written by a Christian scribe in the ninth century in Irish in the margins of his practice book. They learned their trade by copying religious texts, usually Latin, into their practice books, and these have been the source of many amusing anecdotes and fascinating insights into Irish life in the distant past.
This poem is preserved in the Reichenau Primer, which is kept in St. Paul’s Abbey in the Lavanttal, a Benedictine monastery in Austria. It is thought the scribe may have fled there to avoid Viking raids on Ireland, who were particularly fond of attacking religious institutions and carrying off their wealth.
In this poem, the author is talking about his pet cat, Pangur Bán, bán meaning ‘white’ in Irish. Pangur means ‘fuller’, a tradesman involved in the production of woolen cloth, in which it is cleansed of oils, dirt and impurities, making it thicker. Perhaps this was a reference to the cat’s thick, white, clean fur. The author is comparing Pangur’s skill at hunting mice with his own industriousness as a wordsmith. It is quite clear from the poem that Pangur is his pet, and that there is fondness and companionship between them.
Saint Colman was the son of an Irish chieftain, Duagh, in the late 5th/ early 6th centuries AD. He became a priest, and according to legend, he kept three rather unusual pets: a rooster to wake him for prayers in the morning, a mouse to wake him for prayers during the night, and a fly to act as a sort of book mark and keep his place when he was called away from reading his prayer book.
Unfortunately, a fly’s life is short, and Saint Colman was devastated when his faithful little friend passed. He wrote to Saint Columba expressing his grief, to which Columba replied, “You were too rich when you had them. That is why you are sad now. Trouble like that only comes where there are riches. Be rich no more.” That was how Colman learned that one can be rich even without wealth.
A century earlier, the King of Leinster had a little pet fox that he was extremely fond of one. One day, a servant out cutting wood in the forest killed the fox, thinking it was a wild animal. The King was so furious, he had the servant imprisoned, intending to execute him.
The poor man’s wife appealed to Saint Brigid, who charmed a fox cub from the woods as a gift to the King in exchange for the servant’s life. The King was so entranced by the little fox and its clever tricks, that he immediately agreed. The fox, however, ran off into the forest at the first opportunity, and although the King sent all his hounds and best huntsmen after it, it was never found.
In Irish mythology, many characters had particular animals they were associated with.
Ulster’s hero, Cuchulainn, had two special horses which pulled his chariot. Their names were Liath Macha, meaning the ‘grey of Macha’, and Dub Sainglend, the ‘black of Saingliu’. They were said to have emerged from the pool of Linn Liaith in the mountains of Sliabh Fuaid as a gift from the Goddess, Macha. This association with water clearly indicates their Otherworldly origin. Cuchulainn leaped onto their backs and rode them around the whole of Ireland in just one day, after which they were tamed.
Fionn mac Cumhail had two magical hounds that he loved above all others, and it is said that he kept up to 200 of them. Bran and Sceolán were the unborn children of his aunt, Tuirean. She was abducted by a woman of the Sidhe and transformed into a hound whilst pregnant. She gave birth to two pups, which were then sent to Fionn as gifts.
Fionn, Bran and Sceolán were inseparable; they hunted and fought beside him, and appear in many stories together. They were certainly more companions to him than beasts, although the stories never mention if Fionn knew their true identity, or if they could communicate in any way other than any man does with his dog.
My favourite story, though, is a sad one…
Boann strides up the path, her face composed with fierce determination, her little dog Dabilla trotting faithfully at her heels. The way is winding and covert, meant not for the feet of the uninitiated, but Boann has learned its secrets; thus she feels she has earned the right to visit this most sacred of places, the Tobar Segais, also known as the Well of Wisdom.
The pool is silent and dark, reflecting neither sky nor earth, an upwelling of water from the deepest reaches of the Otherworld, bringing with it all the arcane knowledge and mysteries contained therein. Around it stand the Nine Ancient Hazels of Knowledge. Boann catches her breath in awe as she gazes at them, for their branches are laden with blossom, fruit and leaf all at once.
As she watches, nuts fall into the shaded water with a hushed splash, and the five spotted salmon which reside there rise up gently to eat them. Dabilla rushes to the water’s edge and snaps at the benign creatures excitedly, but they just flip their tails at her and sink back down to safety.
Boann’s heart is pounding; should she catch a salmon, and eat of its flesh to gain the knowledge she seeks? It feels like sacrilege, and besides would take time she might not have, for every moment she delays, she risks capture. Perhaps she should just eat the nuts, but how many would she need in order to gain enlightenment?
The fear of discovery, her long search for knowledge, and the proximity to her heart’s desire stir up a heady concoction of exhilaration and turmoil in her blood, which causes her to throw caution to the wind. She begins her circuit of the lake, chanting as she goes, but her perambulations take her widdershins rather than deasal-wise.
Perhaps this is her undoing, or perhaps her presence uninvited violates this holy place. Perhaps she is simply in the wrong place at the wrong time. In any case, the waters begin to rise and stir. Wavelets grow into watery mountains which slop at the banks which contain them, chafing at their restraints like caged beasts.
Boann falters in her enchantment, gripped with sudden fear. Even as she turns to run, she knows in her heart escape is futile; she risked the wrath of the Gods, now she must pay. The roaring water towers above her, streaked with white foam and fury. It runs much faster than she; it sweeps her up as if she were no more than a feather, devouring everything in its path as it cascades down the hillside toward the call of the stormy grey ocean. Little Dabilla is tossed from wave to wave, like a sliotar between hurlers.
They say retribution was cruel; Boann lost an eye, an arm and a leg, her faithful pet, some even say her life in the lakeburst which carried her out to sea. And thus the River Boyne was formed and named after her, so that the tragic Goddess lives on forever in the landscape, and in the hearts and minds of the people of Ireland, gone but never forgotten.
Poor Boan, and poor little faithful Dabilla. Nevertheless, we can see from all these stories that in ancient Ireland, people formed attachments to animals, and loved their pets just like we do. 😍
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Now you’ve abandoned me;
Love lost forever.
Life’s web of pathways,
don’t care where they lead.
They all look the same:
It’s over now,
and all is nothing.
Have you entered the big #BloggersBash Blog Writing Competition yet? If not, why not? It’s just a bit of fun, with a great theme – CONNECTIONS – and could win you some nice prizes! You have until March 1st… GO!
GOOOOOOOODMORNING bloggisphere… It’s the start of another year, and what a year it’s going to be. I have a little tickle in my tummy about 2017, and it’s screaming sparkle a…
Source: The BIG BASH COMPETITION 2017
Last week, I listened to one of my lecturers read aloud a poem in Old Irish, and I learned a few things:
The Encounter of Líadain and Cuirithir is a romantic tragedy, and a story I had not yet come across. It is told, as many old Irish stories are told, in both poetry and prose, with the poetry normally being reserved for speech, or to emphasize a particularly important point, or exchange. And because February is the month of love (just look at all the people born in November and tell me it isn’t!), I thought I’d share it with you.
Linguistically, the story dates to the ninth century, but is set back in the seventh century. It concerns two poets, and the love which grew between them, and how it ended in tragedy.
Líadain of Corco Duibne was a lady poet (see… women could be poets in ancient Ireland!) who was touring the province of Connacht, where she met Cuirithir mac Doborchu, a local poet. Well, it was love at first sight, and being lusty Irish, they spent the night together.
Cuirithir wanted more than a one night stand; “Why do we not make a union, o Líadain? Brilliant would be our son whom you would beget,” he entreated her, no doubt alluding to their combined skills as poets.
Líadain had fallen even more deeply in love, but something held her back… her love for God (you might know he’d poke his nose in at some point, if St. Patrick wasn’t available).
She told him to come for her at her home when she has completed her tour as a poetess. This he does, and the couple then approached Bishop Cummine for guidance.
He was not kind. He instructed Cuirithir to renounce his love and banished him to a monastery far away over the sea. Líadain takes the veil, but never forgets her passion for her lost love.
As he crossed the sea in his coracle, she mourned the cruel loss of her lover from a vantage point on a boulder overlooking the bay, and died of a broken heart.
The Bishop then placed the stone over her grave. What became of Cuirithir, if he ever learned of his lover’s death, we don’t know.
This is part of the poem Líadian composes about Cuirithrir:
I am Líadain,
I loved Cuirithir.
It is as true as they tell it.
It was a short time that I was
in the company of Cuirithir.
Towards him, my companionship was good.
The music of the wood
used to sing around me when I was with Cuirithir
with the sound of the blood-red ocean.
I would have thought
that nothing of whatever things I might do
would bring Cuirithir against me.
One shouldn’t hide it:
he was my heart’s desire,
even if I loved everyone besides him.
A roar of fire
has broke my heart.
It is known that it will not live without him.
I think these words are so poignant, so sad and heartfelt. The passing of centuries has not diminished them. She clearly regrets having turned him down, having let her fear of God come between them. It is a lament that she hurt the man she loves so dearly… look how often she repeats his name: she is obsessed. I really feel for her.
There does seem to be some confusion in the story; the delay to their getting together is attributed to both her desire to become a nun, and her desire to continue her tour as a travelling poetess. Clearly, it can’t be both, so which is it?
If she becomes a nun first and then sleeps with Cuirithir, then clearly they have both sinned, which explains the Bishop’s harsh decision. But if she becomes a nun after Cuirithir leaves her, then clearly her decision to put her career as a travelling poetess first offended him deeply, in which case she should forget about the selfish arse!
If the former is true, then the story is one of chastity, punishment, love of God, and that most heinous of crimes, female lust. But if the latter is true, more than likely the story has an older source, and is a tale of love and tragic misunderstanding which has been tampered with by Christians to suit their moral code.
Was Líadian a historical figure? It’s hard to say. Her name means the ‘Grey One’, or the ‘Grey Lady’, perhaps in reference to the nun’s habit she wore. Her name does crop up elsewhere in the company of three other female poets, but there is no actual evidence that she really existed.
However, medieval writers were wont to put their stories in the mouths of historical personae as speakers of history. It may even be that her story is true, but she did not write it, at least, not in the version which currently exists. Linguistically, some of the rhyme in the text has been found to date specifically to the ninth century.
So, till next time, Myth Lovers…
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Last spring, I was interviewed by film maker, Peter McGee, for a new project he was working on, entitled ‘The Search for the Seanachaí‘. Here is the trailer for the film, see if you can spot me! 😁
When I first visited the National Museum of Archaeology in Dublin, I was stunned by the sheer amount, and quality, of ancient gold artifacts on display… there is a whole floor of the stuff.
My youngest son, who was about 8 years old at the time, scrounged my phone and busied himself taking photos of it all… he couldn’t believe what he was seeing, either!
Now put Ireland and gold together in the same sentence, and most people immediately think of pots of gold at the end of a rainbow guarded by a little red-bearded man dressed in green. *shudders* Ugh! How I loathe that little creature.
But here you go. The word ‘leprechaun’ is derived from the Old Irish luchorpán. The leprechaun first makes its apearance in an ancient medieval tale known as the Echtra Fergus mac Léti (Adventure of Fergus son of Léti). Fergus, King of Ulster, falls asleep on the beach and wakes to find himself being dragged into the sea by three tiny lúchorpáin. He captures them, who grant him the ability to swim under water in exchange for their freedom.
Over time, the leprachaun, clearly originally a sea-creature, became distorted into the drunken little shoemaker fond of causing mischief and mayhem, who hides his gold in that famous pot of gold. Of course, you can see how that happened… its a natural progression.
Anyway, back to the gold. The ancient Irish adored the stuff, particularly during the Bronze Age (c.2500-500 BC). More Bronze Age gold hoards have been found in Ireland than anywhere else in Europe.
One of the most famous discoveries is the Mooghaun North Hoard found in County Clare. It is considered one of the greatest Bronze Age hoards of gold ever found north of the Alps. Sadly, much of it was sold off and melted down, but 150 items were rescued, and some of them can now be seen in the National Museum.
The earliest evidence of metal mining in Ireland is provided by Bronze Age copper workings at Ross Island, Co. Kerry in southwest Ireland. These workings, dated at between 2,400 – 2,000 BC constitute the oldest recognised in northwest Europe.
However, evidence of ancient gold mining and smelting materials and equipment has been found in a bog near Limerick. Scholars are unsure though, where the majority of Ireland’s gold has come from.
Scientists measured the chemical composition of some of the oldest known gold artifacts in Ireland to find that they were actually imported from Cornwall in Britain. It seems the English were not quite so fond of their gold bling at the time, and readily traded with the Irish in exchange for… you’ll never guess… tin.
The National Museum of Archeology in Dublin houses over 500 pieces of gold work, including golden collars, torcs and bracelets, mostly from the Bronze Age. It’s quite incredible, glass case after glass case of it.
But what of the mythology? Yes, gold makes an appearance in the old tales of Ireland too, as well as in the land’s archaeology.
This is how Niamh of the Golden hair is described, when she comes to confess her love for Oisin, Fionn mac Cumhall’s son, and carries him away with her into the Otherworld…
She wore the garb of a queen; a crown of gold was on her head, and a dark brown mantle of silk, set with stars of red gold, fell around her and trailed on the ground. Silver shoes were on her horse’s hoofs, and a crest of gold nodded on his head.
And this is how Queen Medb was described by Cethern to Cúchulainn, when he was wounded by her in battle…
A tall, fair, long-faced woman with soft features came at me … She had a head of yellow hair and two gold birds on her shoulders. She wore a purple cloak folded about her, with five hands’ breadth of gold on her back. She carried a light, stinging, sharp-edged lance in her hand, and she held an iron sword with a woman’s grip over her head – a massive figure. It was she who came against me first.
No shame there, it seems, to have been beaten in battle by a woman. Just sayin’.
Criomthan Nianair was a King of Ireland, and the son of Lugaidh Sriabhdearg ‘of the Red Stripes’, who was famously Cuchulainn’s foster son. Criomthan was said to have brought back a golden chariot and a cloak woven with golden threads as plunder from his adventures in Gaul.
Lugaidh was an interesting character. He was said to have been born of a night of incest between Clothra and her three brothers, Breas, Nar, and Lothola, and was described as ‘beautiful to behold, and stronger in bodily strength in infancy than was usual for a child of his age’. It was said that Clothra feared her family’s line would be wiped out in battle, so she seduced all of her brothers in the hope of producing an heir. When her son was born, he was divided in three by red wavy lines, and each third of him resembled that portion of one of his three fathers.
Clothra need not have worried. Far from being punished for their incestuous behaviour, one hundred and seven of their descendants went on to rule as Kings.
In Ireland today, there are many places which bear the Irish word for gold, óir, in their names: Slieve Anore (Mountain of Gold), in Co Clare; Tullynore (Little Hill of Gold), in Co Down; Coomanore (Hollow of Gold), near Bantry in Co Cork, and Glenanore (Glen of Gold), also in Co Cork. Does that mean gold was found or worked there in ancient times? Who can say? I’d like to think so.
Finally, I just thought you might like to know that the letter ‘O’ in the Ogham alphabet, the Beith-Luis-Nin, is called Onn, or Oir, which is also the Old Irish word for ‘gold’. (Learn how to pronounce it here.)
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The Sacred Tree – na Bílí – is where I made my home, called by a voice unknown, challenged but in the end found worthy. The heart knows when it is home. I pay my respects from a distance, content to wait.
And trees have time to kill.
My life has been filled with trees, from the day as a teen when I missed my train to work because I was so busy writing a poem (Winter Trees) about the trees which bordered the platform, to the day only a few months ago, when I planted the first trees in my garden.
I love them. I admire them. I respect them. I cry when I see one cut down. I feel pain when I see the naked wound of pale, fresh wood.
Trees are tactile. They invite touch. Against my skin, the trunk is cold, hard, unyielding. The tree is not like me: I am soft, warm, weak flesh. Silent and strong he stands, old long before I was thrust into existence; he will remain long after I am gone.
The tree is not like me. He reaches for the stars, blossoms for the sun, always standing tall and proud, bowing to none, resisting. When the storm rages, he dances and sings, but he is resolute.
I am not like the tree. I drift where life’s breeze blows me. I shy from sun and storm. I am human, enslaved to my weak, warm flesh.
The broad path leads me through the forest, and I am dazzled by the myriad shades of green, by the capricious filter of sunbeams, by the golden fall of last years leaves, shed like autumn tears. Above me, branches interlace, shaping the vault of nature’s cathedral. Protecting. Embracing. Forming me into the precious relic contained within their shrine. I breathe, and the burden of life’s woes is lifted.
Beneath my feet, deep in the dark, damp earth, roots search out kin, binding, weaving together, supporting one another, connecting. They are all different – the oak, the scots pine, the rowan, the willow. And yet, they are all the same.
Just like us.
I was inspired to write this by the #BloggersBash Blog Post Competition, which this year is all about ‘Connections‘.
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