Tag Archives: supernatural

Thoughts on “The Hosting of the Sidhe” by William Butler Yeats

Image Source: Wikipedia

The host is riding from Knocknarea
And over the grave of Clooth-na-Bare;
Caoilte tossing his burning hair
And Niamh calling Away, come away:
Empty your heart of its mortal dream.
The winds awaken, the leaves whirl round,
Our cheeks are pale, our hair is unbound,
Our breasts are heaving, our eyes are agleam,
Our arms are waving, our lips are apart;
And if any gaze on our rushing band,
We come between him and the deed of his hand,
We come between him and the hope of his heart.

The host is rushing ’twixt night and day,
And where is there hope or deed as fair?
Caoilte tossing his burning hair,
And Niamh calling Away, come away.

Before we can begin to understand the symbolism in this poem, we have to know the names and places mentioned by Yeats.

  • Sidhe—The Faeries, but with a more general implication of supernatural beings.
  • Knocknarea—Mountain in Sligo.
  • Clooth-na-Bare—A faery who sought death in the deepest lake in the world, which she found in Sligo; hence, also a place name.
  • Caoilte—Legendary Irish hero (companion of Oisin).
  • Niamh—Beloved of Oisin, whom she lures into the adventure described in Yeats’s long early narrative poem “The Wanderings of Oisin.” Her name means “brightness and beauty.”

(Definitions source: M.L. Rosenthal)

Rosenthal provides further information regarding the Sidhe and what they meant to Yeats in particular.

Thus the Sidhe are more than mere faeries in the ordinary sense; they are supernatural beings of a more exalted character. Yeats sometimes thinks of them as including all mythical heroes, and at other times makes them quite sinister. To be touched by them is to be set apart from other mortals, an ambivalent condition common to all who succumb to enchantment.

Clearly, this is a complex poem which contains layers of symbolism. I’ll do my best to bring some of these symbols to the surface.

The Sidhe appear to embody the mythology of Ireland, a combination of the mystical and the heroic. They are the Druids, the poets, the heroes, the supernatural beings, all combined into one host. Essentially, they are the source of inspiration for Yeats.

Knocknarea and Clooth-na-Bare are both in Sligo, so we have the lofty peak and the deepest lake, respectively, in the same location. Yeats seems to be implying that the mystical inspiration for his poetry is drawn both from searching the heavens, or the realm of the divine, as well as in exploring the depths of the waters, which symbolizes the deep wellspring of the subconscious mind. This places Ireland at a sort of crossroads, a place where the divine and the human meet, where god consciousness blends with the magical power of human consciousness.

Niamh is a little more complicated. I see three possible representations here. First, she could represent Ireland as the mother country. Second, she could symbolize the embodiment of the divine creative force, or the muse which inspires the poet to craft verse. And thirdly, I suspect there is a correlation between Niamh and Maud Gonne, Yeats’s beloved and personal inspiration. Considering that there are three possible representations embodied in Niamh, it is also possible that Yeats intended her to symbolize the triple goddess (maiden, mother, crone).

I suspect that Yeats sees himself reflected in the character of Caoilte. He is an Irish hero, heeding the call of the Sidhe, lured into the adventure of creating poetry by the mythical being of Niamh. As I envision him “tossing his burning hair,” I see a symbol of the mystical poet, whose mind and thoughts are aflame with the divine fire of inspiration, burning with a passion to rekindle the creative flame that was once Ireland.

As with so many of Yeats’s poems, I suspect this one is open to other interpretations. This one is just my personal view. If you have other thoughts or ideas regarding this poem, please feel free to share them in the comments section.

Thanks for stopping by, and happy St. Patrick’s Day.

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Hellboy and the B.P.R.D. 1955: Burning Season

I have to say that I enjoy stand-alone comics much more than ongoing arcs, since they are like a short story and instantly gratifying to read. And this one is an excellent short tale that worked for me on multiple levels.

Hellboy, the professor, and Susan arrive in Florida to investigate cases of spontaneous combustion, an unusual occurrence which I personally find fascinating in a morbid kind of way.

The notion of spontaneous human combustion dates back to the eighteenth century, but there are legends going back centuries with similar features. And while in medieval times such deaths were attributed to demonic influence, more recently some have come to believe that there is a medical cause.

In trying to figure out whether the events were caused by an unquiet spirit, the group considers the suffering of the Seminole tribe.

The Seminole themselves were driven out by U.S. troops, forced to embark on the ‘Trail of Tears’ to make room for white settlers.

Having lived in Florida, I was familiar with the Seminole and aspects of their history. But the comic also mentions another indigenous tribe, the Timucua.

The original inhabitants of the region, the Timucua, may have been the first North American indians to encounter Spanish explorers when Ponce de Leon arrived in 1513. But the Timucua were wiped out by disease brought by the explorers, their numbers reduced from hundreds of thousands to a bare handful by the nineteenth century.

One of the things I love about the Hellboy series is that the writers consistently draw upon obscure historical information, legends, and mythology. So since I had not heard of this tribe, I did a quick web search to validate the existence of the tribe.

The Timucua were a Native American people who lived in Northeast and North Central Florida and southeast Georgia. They were the largest indigenous group in that area and consisted of about 35 chiefdoms, many leading thousands of people. The various groups of Timucua spoke several dialects of the Timucua language. At the time of European contact, the territory occupied by speakers of Timucuan dialects occupied about 19,200 square miles (50,000 km2), and was home to between 50,000 and 200,000 Timucuans. It stretched from the Altamaha River and Cumberland Island in present-day Georgia as far south as Lake George in central Florida, and from the Atlantic Ocean west to the Aucilla River in the Florida Panhandle, though it reached the Gulf of Mexico at no more than a couple of points.

(Source: Wikipedia)

Spoiler Alert: I have to give away the ending to discuss the last thing, so stop here if you plan on reading the comic and do want the ending spoiled.

It is discovered that the cause of the spontaneous human combustion is the cumulative anguish of all the people who suffered in that area.

The flames were unable to consume you, Hellboy, but you couldn’t hope to overcome centuries of pain. You could only acknowledge it. Remember it.

For me, this was a very powerful and symbolic image. Pain and suffering is symbolically represented as a burning within an individual, or collectively within a group or culture. Eventually the pain and suffering rises to the surface resulting in violent outbursts. We often think we can fight this type of burning rage, but we cannot. Fighting it only increases the pain and stokes the flames of hatred and anger. It is only through acknowledgement, empathy, and compassion that we can begin the healing process.

One last thing I want to say about this comic: the writing and artwork are both amazing. Even if you are not a fan of the genre, you will undoubtedly be impressed by the brilliance of the creative team reflected in these pages. I highly recommend this to all readers.

Cheers!

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Hellboy: Krampusnacht

Tis the season: lights, decorations, Yule logs, nativity scenes, mistletoe, holiday cheer, and of course, Krampus.

One of the things that I love about the Hellboy series is the way that the creative team incorporates myths, legends, and the occult. Myths are such powerful forms of storytelling and they convey profound wisdom and insight into the human condition that they are able to be re-imagined with each new generation. And that is exactly what this issue does—it presents the story of Krampus in a way that resonates with the average American reader.

You’re going to have to bear with me. I’m an American. Over there we’ve got Santa Claus and the elves with toys. Over here… you’ve got Saint Nicholas and his monster sidekick, the Krampus. While Nick’s handing out toys, Krampus–that’s you–hits the bad kids with sticks and rides them around in a basket.

Toward the end of the tale, Hellboy and the professor discuss the possible origins of the Krampus legend.

Professor: Well, I wonder what old Harry Middleton will make of this. I’ll have to call him in the morning… For years he’s maintained that the Krampus was actually the demon goat of the witches’ sabbath, done up in fancy dress for the holidays. And I’ve argued that it was just a slightly nastier variation on the Scandinavian Yule Goat.

Hellboy: “Yule Goat.”

Professor: Yule Goat. Joulupukki. The pre-Christian goat-man version of Father Christmas.

I had never heard of Joulupukki before, but a quick search online provided me with some background on the myth.

Joulupukki is a Finnish Christmas figure. The name “Joulupukki” literally means “Christmas goat” or “Yule Goat” in Finnish; the word pukki comes from the Teutonic root bock, which is a cognate of the English “buck”, and means “billy-goat”. An old Scandinavian custom, the figure eventually became more or less conflated with Santa Claus.

Pagans used to have festivities to honour the return of the sun and some believe Joulupukki is the earliest form of present-day Santa. The Yule Goat was thought by some to be an ugly creature and frightened children while others believe it was an invisible creature that helped prepare for Yule.

Most theorists believe when Christianity began incorporating Pagan ways into their festivals in order to justify the action, they merged the Pagan figure with an already existing Catholic legend known as Saint Nicholas to create Santa Claus.

(Source: Wikipedia)

While the holiday season is a time of celebration throughout cultures and traditions, there is also a touch of the mystical associated with it, and this is often conveyed through ghost stories related to the season.

There must always be ghost stories at Christmas, Elizabeth.

Thanks for stopping by, and may you have a blessed holiday season and a joyous New Year.

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Witchblade #01: Feminist Reboot of Mystical Saga

I was a fan of the original Witchblade comic, and have a box full of earlier issues. While I loved the mythology and the mystical elements of the saga, I confess that the sexualized representations of women were sometimes difficult for me. Which is why when my friend Darrin at the comic store showed me the new re-imagined Witchblade, written and illustrated by women, I was intrigued and bought the first issue.

This first issue faces the daunting task of starting a new story built upon a series that embodies 185 issues over its 20-year history. We are introduced to Alex Underwood, the new wielder of the gauntlet, who is unaware of what she has and the power the artifact contains. She grapples with doubts regarding her sanity as she begins the symbiotic merging of her consciousness and being with the mystical bracelet.

At the end of the issue is an interview with writer Caitlin Kittredge and artist Roberta Ingranata. When asked how the new artistic perspective differs from the original story, Roberta responds:

Fewer boobs [laughs]! I think the new WITCHBLADE will have a different reading key. We have a simpler protagonist, a common woman you could meet in the street. A woman who has to fight with personal demons as much as real ones.

The female point of view, in this kind of story, helps to depict a much stronger introspective and emotional side of the character.

Caitlin elaborates on the female perspective of the story:

Female creative teams are unfortunately in the minority right now in comics, and I’m really thrilled to be half of one on this book. I’m even more pleased to be a woman writing a female-lead comic drawn by a female artist. WITCHBLADE has always been a comic, in my opinion, that has tried to present a strong heroine but didn’t have much actual input from a woman. I am definitely interested in continuing to portray a heroine who is strong but human, and a fully fleshed person with both good and bad sides because I feel that’s the greatest service I can do as a writer—delve beneath “strong female character” into the actual person at the core of the new WITCHBLADE.

While it seems strange to read Witchblade without Sara Pezzini, I am curious to see where this new tale goes. So far, I am greatly encouraged and look forward to what this new chapter in the saga has to offer.

Feel free to share your thoughts below. Cheers!

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Vampirella: Issue #3

This issue could have been called “Campirella.” It’s a nod to the pulp fiction genre that began in the late 1800s and continued through the 1950s. The artwork, style, and content all recall the campiness of the genre.

Pulp magazines (often referred to as “the pulps”) were inexpensive fiction magazines that were published from 1896 to the 1950s. The term pulp derives from the cheap wood pulp paper on which the magazines were printed; in contrast, magazines printed on higher quality paper were called “glossies” or “slicks”. The typical pulp magazine had 128 pages; it was 7 inches (18 cm) wide by 10 inches (25 cm) high, and 0.5 inches (1.3 cm) thick, with ragged, untrimmed edges.

The pulps gave rise to the term pulp fiction in reference to run-of-the-mill, low-quality literature.

Pulps were the successors to the penny dreadfuls, dime novels, and short-fiction magazines of the 19th century. Although many respected writers wrote for pulps, the magazines were best known for their lurid, exploitative, and sensational subject matter. Modern superhero comic books are sometimes considered descendants of “hero pulps”; pulp magazines that often featured illustrated novel-length stories of heroic characters, such as The Shadow, Doc Savage, and The Phantom Detective.

(Source: Wikipedia)

Growing up, there were still pulp magazines available at the local stationary store. I used to read the campy detective magazines, as well as the graphic horror and science fiction. Although these publications were deemed the antithesis of literature, they did foster a love of reading for me which continues to this day.

There is something disturbingly timely in this bizarre throw-back issue. Vampirella is imprisoned in a concentration camp along with a variety of other individuals deemed to be social deviants. This included people of different ethnicities, LGBTQ persons, as well as individuals of different religious beliefs. And while the work camp is clearly a reference to the Nazi concentration camps, the people who are imprisoned there are the same groups who are currently being targeted here in the U.S.

At one point, the Commandant tells Vampirella why there will always be people to keep the factory running.

We have the world to choose from. There will always be malcontents.

The terrible truth of this statement is that a fearful and intolerant society will always find individuals and groups to direct their hatred and fear toward. Humans continue to exploit those who they see as different, and blame the “others” for their difficulties. Hopefully, one day we will transcend this cycle, at which point magazines like this will become a curiosity instead of a sad social commentary.

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Vampirella: Issue #0

vampirella_0

I used to read Vampirella when I was a kid and obsessed with graphic horror, but have not read it in many years and completely missed out on the modern saga. I confess the risqué covers would catch my eye at the comic store, but I always passed them up. Well, this past week I went in and there was nothing in my folder, but my friend Nikki who works there gave me a couple comp issues, one of which was this one which marks the beginning of a new arc. Nikki assured me that it was good and is a great place to pick up the saga. Since I trust her recommendations, I accepted the comic and read it. (Try it sonny; the first one’s free…)

I have to say, my interest is piqued. The writing and artwork are both very good, and while Vampirella is still scantily clad (something I personally have an issue with), she is not presented quite as much as the sexual object I remember from my youth. In fact, this was something Nikki and I discussed. She is bothered by the objectified depictions of women, and she said that supposedly in this arc, the imagery is toned down a bit. I guess we’ll see.

The basic premise is that Vampirella has been asleep for about a 1000 years and is raised by a couple who sacrifice themselves to provide the blood needed to awaken her. She has no recollection of where she is, how she came to be entombed, or how long she has been there. But the couple left her a book of myths and prophesies related to Vampirella. As her hunger becomes overpowering, she is drawn to the surface.

I think I will add this to my pull-list and at least give it a couple issues to see whether it is worth continuing. There is definite potential from what I see in this first installment. I’ll let you know my thoughts on the subsequent issues.

Cheers!

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Hellboy: Winter Special 2017

hellboywinterspecial2017

I enjoy the Hellboy Winter Specials because they contain several short vignettes that are usually very good, and this year’s is no exception. It is comprised of three short tales: “The Great Blizzard,” “God Rest Ye Merry,” and “The Last Witch of Fairfield.” While the last two were good and worth reading, it was the first one, “The Great Blizzard,” that interested me the most.

The premise of the story is that there is an unusually heavy and prolonged snow in England during the late 19th century, and Sir Edward Grey and Sarah Jewell are investigating whether the cause is supernatural. While walking through the bleak whiteness, Edward tells Sarah about similar occurrences that were supernatural in origin.

“In the north there are legends of Cailleach Bheur, the Queen of Winter who rules from Samhain to Bealtaine and summons the storms and snows at will. And there was Saint Bega in the middle ages, to whom a great lord offered as much land as was covered by snow the following morning for her priory. It being midsummer the promise would have been an empty one, had Bega not miraculously caused a snowstorm to fall that night.”

One of the things I love about Hellboy is that the writers draw on actual myths and legends as inspiration for the stories. I was unfamiliar with the references, but did a little research and easily discovered the details of the myths.

Legend of Cailleach Bheur

The Cailleach displays several traits befitting the personification of winter: she herds deer, she fights spring, and her staff freezes the ground.

In partnership with the goddess Brìghde, the Cailleach is seen as a seasonal deity or spirit, ruling the winter months between Samhainn (1 November or first day of winter) and Bealltainn (1 May or first day of summer), while Brìghde rules the summer months between Bealltainn and Samhainn. Some interpretations have the Cailleach and Brìghde as two faces of the same goddess,[16] while others describe the Cailleach as turning to stone on Bealltainn and reverting to humanoid form on Samhainn in time to rule over the winter months.

Source: Wikipedia

Legend of Saint Bega

Bega is associated in legend with a number of miracles, the most famous being the “Snow miracle”, which is described in the Life of St Bega thus:

“Ranulf le Meschin (sic) had endowed the monastery with its lands, but a lawsuit later developed about their extent. The monks feared a miscarriage of justice. The day appointed for a perambulation of the boundaries arrived – and, lo and behold, there was a thick snowfall on all the surrounding lands but not a flake upon the lands of the priory.”

Source: Wikipedia

In addition to the quality writing and the references to mythology, the artwork is top notch, making this a graphic novel definitely worth picking up and reading.

Thanks for stopping by, and have an inspired day.

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