Fáilte Ireland is investing €1.5 million in a festival bringing Halloween back to its roots, reports Pól Ó Conghaile
Read more here.
An eclectic mix of book and music reviews, ramblings and other flotsam and jetsom encountered on an expedition to find a place in the pre-Christian religious traditions, and practices of the British Isles.
"These folklore accounts detail some of superstitions and festivities which once surrounded Halloween in Ireland. They are based on information supplied by schoolchildren to the Irish Folklore Commission in the late 1930s."
"From earliest recorded history in Ireland, Halloween (All Hallows Eve), or Oíche Shamhna was considered a turning point in the calendar.
Samhain (November 1st), meant the start of winter, when cattle were brought down from summer pastures, tributes and rents paid, and other business contracted.
Samhain, marks the close of the season of light and the beginning of the dark half of the year, and was therefore perceived as a liminal moment in time when movement between the otherworld and this world was possible. ... "
Today we have a featured story from The Emerald Isle, and Dee Dee Chainey talks to Ronan Burke, who runs the website – a great place to find stories of Ireland and its legends! - See more at: http://folklorethursday.com/myths/the-children-of-lir/#sthash.MoSpAuKi.uDww3Ny2.dpufToday we have a featured story from The Emerald Isle, and Dee Dee Chainey talks to Ronan Burke, who runs the website – a great place to find stories of Ireland and its legends! - See more at: Folklore Thursday
Today we have a featured story from The Emerald Isle, and Dee Dee Chainey talks to Ronan Burke, who runs the website – a great place to find stories of Ireland and its legends!Read it here: Folklore Thursday.
JP Mallory describes this book as a companion to his The Origins of the Irish,
from 2013, in which he sketched the emergence in the early medieval
period of a people who were recognisably Irish. In that book he briefly
examined the legendary history of Ireland as written down in
early-medieval times by clerical scholars who prized the vernacular
traditions of poetry, myth and legend and gave them an honoured place
side by side with the Latin learning of the church.
He returns to that subject in this latest valuable study written in his characteristic accessible and witty style.
Read the entire article at The Irish Times.One of the odder effects of the explosion of youth culture in the 1960s and early 1970s was what might be called a second Celtic Revival in Ireland. In the search for an alternative, anti-establishment aesthetic, the notion of a pre-Christian “Celtic” world promised a kind of authenticity that dovetailed with the international counterculture. It manifested itself in everything from jewellery to the graphic art of Jim Fitzpatrick (see 1968) to the invention of “Celtic rock”.This interest in turn gave an unexpectedly contemporary energy to one of the most prestigious high-art projects of the era: the collaboration between the poet Thomas Kinsella and the painter Louis le Brocquy (see 1951) on a translation of the old Irish epic Táin Bó Cúailnge (The Cattle Raid of Cooley).The Táin is the centrepiece of the Ulster Cycle of legends, describing the mythic conflict that erupts when Queen Medb of Connacht invades Ulster to capture its most prized treasure, a great brown bull. Ulster is defended by its youthful champion, Cúchulainn.
“The fairies often go out hunting. In the calm summer evening the faint sound of tiny horns, the baying of hounds, the galloping of horses, the cracking of whips, and the shouts of the hunters may be distinctly heard, whilst their rapid motion through the air occasions a noise resembling the loud humming of bees when swarming from a hive.”
— | Excerpt From: Wood-Martin, W. G. (William Gregory), 1847-1917. “Traces of the elder faiths of Ireland; a folklore sketch; a handbook of Irish pre-Christian traditions.” London, New York and Bombay : Longmans, Green, and co., 1902. (via sachairimaccaba) |
“A libation of some of the thick new milk given by a cow after calving, if poured on the ground, more especially in the interior of a rath or fort, is supposed to appease the anger of the offended fairies. Before drinking, a peasant will in many cases, spill a small portion of the draught on the earth, as a complimentary libation to the good people.”
— | Excerpt From: Wood-Martin, W. G. (William Gregory), 1847-1917. “Traces of the elder faiths of Ireland; a folklore sketch; a handbook of Irish pre-Christian traditions.” (via spiritualbrainstorms) |
“At first glance the fertility aspect of the Morrigan does not seem as evident. It is an essential part of her character, however. Celtic goddesses combine destructive characteristics with those of nurturing, sexual power, and fertility. Although the juxtaposition seems strange, there is logic in it. Since the goddess is to preserve the tuath, she must be able to protect it in war as well as to provide it with the fruits of the earth, and increase both its cattle and people.”
Clark, Rosalind. “Aspects of the Morrigan in Early Irish Literature.” Irish University Review 17.2 (Autumn 1987): 228-229, JSTOR. (via diary-of-demosthenes). |
Greatest of all the water spirits, the sea god, Manannan mac Lir, has occasionally appeared, usually on some errand of mercy on the coast of Co. Mayo and he, or his son (or double), Oirbsen, of Loch Oirbsen (Loch Corrib), on the coast of Galway Bay. He has sometimes come to warn of the approach of a storm.
No doubt the pagan ancestors of the shore dwellers, worshipped him of old; and his reverence lingered when his. godhead was forgotten. The people live by the gifts of the sea, its fish, timber and seaweed, so naturally the gracious side of the-god was most felt, but there are also suggestions that his fierce cruelty was once felt. Anything that falls into the sea should not be retrieved : a hat blows off and Aran boatmen have refused to go after it.
A curious ceremony where young men naked on horseback are driven into Galway Bay and for some time kept from coming to land is very suggestive of a symbolic sacrifice. I am told that this has been in use near Spiddal, to. the west of Galway, in very recent years. Some fifty years ago I heard from Lord Kilannin that his father and others had to go to the rescue of some shipwrecked men whom the peasantry would neither help nor permit to land.
His relatives were eagerly warned of the disasters to which they might be liable for saving anyone from the sea.
"If an oat-cake be baked and left for the next day it should have a piece broken out of it, and should not remain whole, because if the fairies came in the night and saw a whole cake they would surely take it, but they would not touch a broken one, or take your leavings."
"This has now come to be applied to all cakes. Many of the old people used to leave potatoes ready cooked and pieces of bread for them of a night. In the morning these were given to the fowls and never eaten by the people of the house, because since it is, as it were, the spiritual part of the food that is taken, it would not be known whether the fairies had touched it."
"If milk be spilt no annoyance should be expressed, but you should say: "There’s a dry heart waiting for it," since the Good People may have been Awanting it, and caused it to be spilt."
"Should one come out of a house at night whilst eating, a portion should be thrown on the ground for the fairies"
This always comes to mind when I see people acting like idiots online. It's from Tecosca Cormaic (The Instructions of King Cormac).
"O Cormac, grandson of Conn", said Carbery, "What is the worst pleading and arguing?"
"Not hard to tell", said Cormac.
"Contending against knowledge,
contending without proofs
taking refuge in bad language
a stiff delivery,
a muttering speech
hair-splitting
uncertain proofs,
despising books
turning against custom
shifting one's pleading
inciting the mob
blowing one's own trumpet
shouting at the top of one's voice."
Source: Bad Haven.
Big Chris Lennon of Belfast-based Digital Mist Productions will begin shooting his brainchild ‘The Curse of Macha’ this August, a feature-length production inspired by ancient Irish myths and legends including the ‘Táin Bó Cúailgne’. The film is currently in pre-production based on the screenplay Chris co-wrote with Paul Micheal.
In all seriousness though, the story is set during 4th Century Ireland and focuses on a woman named Emer who is forced to face the horror of her missing children when her village is set ablaze amid an invasion.