In the Irish myths we find a giant named Balor whose name derives from the common Celtic *Boleros ‘the Flashing One’. He is best known for the destructive power of his eye, which burns or poisons.
In ‘The Second Battle of Mag Tuired’ Balor fights on the side of the Formorians ‘underworld giants’, who come from beneath the earth or sea, to fight against the culture gods, the Tuatha Dé Danann.
Balor has ‘a destructive eye’ which is ‘never opened except on the battlefield’ by four men pulling a ring on the lid. We are told that any host which looked into his eye, even if there were thousands, ‘would offer no resistance to warriors’. Its ‘poisonous power’ originates from an accident. When Balor’s father’s druids ‘were brewing magic’ the fumes ‘affected the eye’ and ‘the venomous power of the brew settled in it.’
Balor kills the king and battle leader of the Tuatha Dé Danann, Nuadu Silverhand. Yet the moment the lid on his eye is raised Lug Lormanslech (who is elsewhere known as Lug Lámfada ‘of the Long Hand’) kills him by firing a slingstone from his slingshot into his eye and causing him to fall backwards and kill twenty-seven men. Lug later takes the place of Nuada as king of the Tuatha Dé Danann
In ‘Balor on Tory Island’ he has a burning eye which is covered by nine leather shields or seven coverings which he removed one by one: ‘With the first covering the bracken began to wither, with the second the grass became copper-coloured, with the third the woods and timber began to heat, with the fourth smoke came from the trees, with the fifth everything grew red, with the sixth it sparked. With the seventh, they were all set on fire, and the whole countryside was ablaze!’ Balor is killed by Lug, with a a red spear crafted by Gavidin Gow, which pierces through all the coverings.
In this Formorian giant it is possible to find some parallels with the British giants and forces of Annwn ‘the Deep’, the Otherworld or Underworld. Llasar, described as ‘a huge, monstrous man’ with ‘yellow-red hair’ and ‘an evil, ugly look about him’ emerges from ‘the Lake of the Cauldron’. The scream of a dragon causes men to lose their strength and makes the land and its inhabitants barren.
There are also similarities between Battles of Mag Tuired and ‘The Battle of the Trees’. Like the Tuatha Dé Danann, the Children of Don, Lleu (cognate with Lug) ‘radiant his name, strong his hand’, the magician-god, Gwydion, and the plough-god, Amaethon, battle against the forces of the King of Annwn and these include giants such as Bran the Blessed and Annuvian monsters.
However, neither Nodens/Nudd (cognate with Nuada) or Boleros (who would be cognate with Balor) are mentioned. This leaves me wondering whether we had a similar story in which Nodens was killed or injured by Boleros and Lugus/Lleu triumphed over the giant and his destroying eye.
A similar story about how Boleros gained the destructive powers of his eye would certainly fit with narratives in which the cauldron which brews the awen and revives the dead also produces poison.
The tale of Boleros of the Burning Eye is one of the stories I am striving to re-imagine in my new book.
Gwythyr ap Greidol ‘Victor son of Scorcher’ appears in the medieval Welsh story Culhwch and Olwen as the rival of Gwyn ap Nudd ‘White son of Mist’ for the love of Creiddylad ‘Heart’s Desire’. That he is a fitting opponent for Gwyn and consort for Creiddylad, who are the son and daughter of the ancient British god Lludd/Nudd/Nodens, suggests he is also an important British deity.
Strip away the Christian veneer from Culhwch and Olwen and we have a story in which Gwyn (Winter’s King) and Gwythyr (Summer’s King) battle for Creiddylad (a fertility goddess). On Nos Galan Gaeaf, Winter’s Eve, Gwyn abducts Creiddylad to Annwn* and Gwythyr rides to Annwn and attempts to rescue her and is imprisoned. The abduction of Creiddylad and imprisonment of Gwythyr explain the coming of winter. On Calan Mai, the First Day of Summer, Gwythyr battles Gwyn for Creiddylad, wins, and she returns with him to Thisworld and together they bring fertility to the land. This explains the coming of summer. Gwyn and Gwythyr may earlier have been seen to slay one another on Nos Galan Gaeaf and Calan Mai and take it in turns to enter a sacred marriage with Creiddylad, who acted as a powerful sovereignty figure rather than just a maiden to be fought over.
It is clear from this tale that Gwythyr is our ancient British god of summer. In another episode in Culhwch and Olwen we catch a glimpse of Gwythyr’s associations with fire and sunshine. As he is walking over a mountain he hears ‘weeping and wailing’ and sees its source is a burning anthill. He cuts the anthill off at ground level and rescues the ants from the blaze. We do not know what caused the fire. Did their nest, which ants orientate toward the sun, a little like solar panels, in a summer day, absorb too much heat? Or was the fire caused by Gwythyr’s scorching feet? We have seen that one translation of his father’s name, Greidol, is Scorcher, and we know wildfires break out in the summer. Here we see the dangers of fire and the sun and Gwythyr’s attempt at remediation.
The ants go on to help Gwythyr to gather nine hestors of flax seed which was sown in ‘tilled red soil’, in a field that has remained barren, so it can be ploughed into a new field, to provide the linen for Olwen’s veil in preparation for her marriage to Culhwch. It is possible to read Gwythyr’s association with seed being linked to the ‘male’ side of fertility and with doing the groundwork for the arrival of summer for his bride, Creiddylad, might also require a linen veil for her wedding dress.
The ancient Britons used fire to clear the forest to plant hazel trees and wildfires bring about new growth – in Gwythyr’s associations with fire and seed we find these processes.
These stories show that Gwythyr is a god of summer, fire, and generation in Thisworld who is opposed to Gwyn, a god of winter, ice, and the destructive forces of Annwn, the Otherworld. On the surface one is a bringer of life and the other a bringer of death yet their relationship is one of interdependence. It is necessary they take it in turns to enter a sacred marriage with Creiddylad as an eternal summer or an endless winter would have equally deadly consequences for both worlds.
As Gwythyr’s story was passed on through the oral tradition he and his father were depicted as allying with Arthur against Gwyn and the ‘demons’ of Annwn and playing a role in their demise. Thus Gwythyr is associated with other culture gods like Amaethon, the Divine Ploughman, and Gofannon, the Divine Smith, who help the Christian king to civilise the wild and shut out the Annuvian.
This process may be traced back to the Neolithic revolution when farming began to replace the hunter-gatherer lifestyle, the cultivation of seed hunting and foraging, the grain god (Gwythyr) the hunter (Gwyn). Christians did their best to eliminate the veneration of Gwyn by depicting him and his spirits as demons yet they continued to be loved in folk culture as the fairies and their king.
The stories of Gwythyr, by name, did not survive in the folk tradition, but it possible to find a likeness between him and other grain gods** who die a ritual death at the end of the harvest – when Gwyn, the harvester of souls, reaps down his rival and Gwythyr and the seed return to Annwn.
From the Neolithic period our society as a whole has favoured Gwythyr over Gwyn. We have created an eternal summer with the fire of Gwythyr in the engines of industry creating a society in which the cold and darkness of winter has been eliminated by electric lighting and central heating. Crops grow all year round under artificial lights. This has unsurprisingly led to global heating, to the climate crisis, to the scorching fires on Winter Hill where I perceive Gwythyr battling his rival. Ironically, and tellingly, these two great gods and the great goddess they battle for have been forgotten.
Yet, slowly, the worship of Gwyn and Creiddylad is reviving amongst modern polytheists. I know few who venerate Gwythyr and believe this is because his stories have been subsumed by those of other grain gods. This is a shame, for Gwythyr’s stories contain deep wisdom relating how fire, sun, summer and seed have played a role in the climate crisis from a polytheist perspective.
As a devotee of Gwyn, committed to the otherside, to the Annuvian, to redressing the balance, Gwythyr is a god whose powers I acknowledge through the summer and during the harvest period although I do not worship him. I would be interested to hear how and whether other polytheists relate to Gwythyr at this time.
*Annwn has been translated as ‘the Deep’ and the ‘Not-World’ and is the medieval Welsh Otherworld or Underworld. **Such as Lleu Llaw Gyffes/Lugus and John Barleycorn.
For me the lockdown has been a safe bubble and has had a number of benefits. I’ve had the opportunity to cultivate a better relationship with my immediate reality at home, where I live with my parents. I’ve been doing more gardening and this has included food growing. We are now self-sufficient in lettuce, green vegetables, and fresh herbs. This has fitted with having more time to cook with them, to make tasty meals from scratch, my favourites being pea and mint soup and minty lamb stew.
The raspberries long ago strayed from their patch and ramble freely around the garden and they have gifted us a brilliant crop this year in spite of the rain.
I’ve had the time and space to begin repairing my mental health. I’ve struggled with anxiety all my life and, since my late teens, used alcohol as a way of self-medicating. I stopped drinking in January and, over the last few months, have completed a series of counselling sessions through the Minds Matter service.
This has resulted in me finding out that the source of my anxiety is likely having Asperger’s and that’s why I struggle with loud, noisy social situations, whether in public or online, and thrive on time alone or in quiet company, working on the land, in devotion to my gods, and nurturing my creativity.
In the place of alcohol, which obliviated my worries only temporarily, I’ve developed some worry management strategies. This has included keeping a worry diary and assessing whether a worry is practical or hypothetical. If it’s practical I have problem solving techniques to deal with it, and if hypothetical, a technique of setting it aside for a worry period so it doesn’t interfere with the rest of my day. This has made my worries seem less overwhelming thus I’m less worried about worry itself. Other small dietary changes like excluding caffeine and cane sugar have helped too.
The most major result is the realisation that my mental health limitations make it more important to focus on my gift – my awen, my creativity. This has led to my next book, The Dragon’s Tongue, in which I explore a myth of origins personal to me and my deities.
From the safety of my bubble I’ve been watching the lockdown ease. The shops, the hairdressers, the pubs opening, the traffic building up. I barely ever buy clothes, decided to clip my hair off, have stopped drinking, and rarely borrow my dad’s car, preferring to walk or cycle, so this hasn’t affected me much (although the busyness of the roads has made walking and cycling more unpleasant).
Yesterday, however, my bubble finally went pop. I cycled to Brockholes Nature Reserve for the first time since its reopening for a walk. My long term plan for finding paid work that doesn’t have a negative impact on my mental health has been getting a job in conservation which involves working outside alone or in the quiet company of other staff and volunteers. I was due to begin an internship at Brockholes to gain the necessary experience before the lockdown began and it was postponed.
On arrival I was pleased to see the meadows in flower with a mixture of lady’s bedstraw, thistle, vetch, ox-eye daisies, red campion, ragged robin, bird’s foot trefoil and other wild flowers.
Yet when I walked past the office I saw and spoke to the reserve manager, who informed me there have been staffing cuts. Everything is up in the air at the moment. If I was still to take the internship there would be less work and my opportunities would be limited to ‘income projects’ with less conservation.
The prospect of finding paid work with the Lancashire Wildlife Trust or any other conservation organisation is looking bleak. As is finding employment in any sector aside from key work. The future, due to coronavirus and the environmental crisis is a great unknown, with little chance of ‘normal’, much less ‘better’.
Still, I’m going to continue with my internship and other conservation volunteering whether it leads to paid work or not as I value the work of the Wildlife Trust and it is a way of serving my land and gods.
And I’m going to pull my bubble back around myself for a while and continue to use this opportunity to ‘tend to my domain – myth, gods, and the soul’, as my deity advised this morning.
Nine towers of stone. Around each coils a wyrm. No way in – no door, lock, key, but a single row of windows at the top where I think I glimpse the face of a madman. They are old as the grey mountains. I want to claim they were built by the haulers of scree, the wyrms summoned and bound by the might of magicians or that they came of their own free will raising the towers from some secret land underground that has never been seen. Share rumours of a sibylline prophetess who consulted the wyrm’s heads but whose words are not recorded in dusty books in an arcane language eaten by bookworms. But no explanation rings true or exists. I feel like banging my head against the stone demanding an answer from the inexplicable unblinking eyes and long stony tongues silent as the purple skies. I cannot accept this vision defeating poetry.
I wrote the poem above a couple of years ago and the vision it is based on has stuck with me. It’s only since I started writing my new mythic book, The Dragon’s Tongue, that I realised that the nine towers correspond to the nine heads of the Dragon Mother Anrhuna and that when she was killed her nine heads were bound on the towers so the creator gods had power over the nine elements (stone, earth, magma, fire, air, wind, water, mist, and ice). I’ve finally got round to trying to draw the scene, which I find helps.
speak of dragons when dragons from the world are gone?
How can I be your inspired one when the myths of the gods are lost?
To sing them back from the void before creation I will need a dragon’s tongue!
Lord of Annwn grant me the strength by the breath of dragons to write this book.
Over the past few weeks I have known possession by the awen; the inspiration, the divine breath that flows from Annwn, the breath of the gods, the breath of dragons; like I have never known it before.
It’s come after a couple of fallow years; sowing, reaping, dissatisfaction with flawed and failed crops.
I was beginning to fear that, after making my lifelong vows to Gwyn ap Nudd, to serve him as his awenydd, that the awen had dried up. What irony! A tiny part of me had begun to wonder if I’d made a mistake. Whether my powers of discernment were off. Whether he’d been having a laugh with me.
But my soul, to him eternally present, spoke otherwise. Only now I’ve realised I’d experienced a time of labouring, harrowing, preparing the ground for the oak to rise and the lightning to strike. For my fall from the tree amidst this collective shattering of the grounds of our society brought about by COVID-19 and into Annwn, the Deep, where I was to find the Prophet with the Dragon’s Tongue.
Thus has been born my next mythic book – The Dragon’s Tongue. Much of it has been gifted to me at dawn, in response, I believe to my evening prayers, in particular to Gwyn, Gwyn’s father, Nodens, Lord of Dream, Gwyn’s mother, Anrhuna, Dragon Mother of Annwn, and Gwyn’s beloved, Creiddylad.
You will probably not be surprised when I say their stories are central, with those of the dragons, and their conflict with the Children of the Stars*. There isn’t much evidence for dragons in the Brythonic/Welsh myths aside for an episode where Lludd/Nudd/Nodens ends a plague by ending the battle between two dragons and another where they appear, red and white, in a vision of Merlin Emrys. But there is the red dragon is on the Welsh flag and dragons are all around us in our folklore.
I’ve been reading mythic literature, journeying with the deep gods, the dragon-gods, long enough to know, when you get to the bottom of any myth, as Gordon White says, it is ‘dragons all the way down’.
I have long wanted to write the story of Anrhuna, the forgotten Dragon Mother, and also a creation myth. I have wanted what is lacking in the Brythonic/Welsh stories penned by medieval Welsh scribes. Something polytheistic, something penned by an inspired one of the gods, that provides insights into the mysteries of creation, of life, death, and rebirth, without the patriarchal Christian overlay.
Finding nothing else I realised I would have to do it myself. Following being gifted with the voice of the Prophet with the Dragon’s Tongue I started in the beginning, in the Deep, with Old Mother Universe and her Cauldron and how a dragon slipped from it and fell into the Abyss. How, from formlessness, she gave birth to the elements in dragon-form to form the world (yes – the world was made by dragons and not by God or some other demiurge). How the Children of the Stars slew Anrhuna, cut off her nine dragon heads with their long necks, and bound them on the Towers of the Wyrms…
From this flowed the story of the conflict between the Children of Annwn and the Children of the Stars, a tale of love and war, the mysteries of birth, death, and rebirth, of the coming of the Black Dragon.
After I swore to Gwyn that I would complete it beneath the leaning yew, where I met him, I got most of the first draft written over those days of thunder. When the lightning from the Spear of Lugus which killed Anrhuna lit the skies, when the rain poured, when the energy was strange and high.
This, I believe, would not have been possible if we were not in lockdown due to COVID-19. If I had not had this time without the pressures of finding paid work by volunteering with the Wildlife Trust and helping organise local poetry nights. If I had not stopped drinking, got off social media, started counselling for my anxiety and found out its root is having Asperger’s, which has helped me to stop blaming myself for my failures in ‘the real world’ and to cultivate space for my gods and my soul.
The birth of this book has restored by faith in my gods and through it I finally feel reborn as Gwyn’s awenydd. The first draft is complete, but is far from perfect, and I am predicting it may take months, even a year or so to firm it up. But, it has been born, and I am incredibly excited about it.
So if you’re interested watch this space and if you’re really interested you can find out more about my creative processes and see unseen work, including some of the drafts, by supporting me on Patreon HERE.
was the night you were furthest away from the world like a distant asteroid – like Pluto.
From now you’re coming back – your land of ice and darkness will thaw and the mists will make it beautiful again.
From the coffin where you dream of nuclear winter you will step into a new suit of armour.
Summer is a’coming to Annwn and winter is already on its way here.
This poem is based on my gnosis that whilst it is summer in Thisworld it is winter in the Otherworld. It is addressed to Gwyn ap Nudd, a Brythonic ruler of the Otherworld and Winter’s King, who is killed by his rival, Gwythyr ap Greidol, Summer’s King, on Calan Mai, and sleeps through the Summer.
After I received this poem in a vision this morning I looked up Pluto, a planet named after the Roman King of the Underworld and saw that, in Japanese its name is Meiōsei – ‘Star of the King of the Underworld’. I thought this was very beautiful and apt for the planet that rules my birth sign, Scorpio, much as Gwyn, my patron god, is the ruling force in my life.
I then returned to an essay by Brian Taylor called ‘Photographing the Underworld? A Note of NASA’s Pluto Fly-by’ which has had a big influence on me. Here he speaks of how the photographing of Pluto ‘ruler of occultation, and protector of the integrity of mystery’ may have been saved from being an act of ‘casual intrusion’ by the plutonium powered spaceship carrying the ashes of Clyde Tombaugh ‘discoverer of Pluto’ (as a kind of offering to the underworld gods?).
Brian also speaks of how he ‘traced the exteriorisation of Pluto in the history of the nuclear era, and found the planet’s signature etched into the geography of the discovery region, most notably in an extraordinary spatial co-incidence. Pluto was discovered in 1930 at the Percevall Lowell Observatory in Flagstaff Arizona. Ten years later Plutonium was manufactured at the Lawrence Livermore Laboratory in California, and five years after that the first atomic bomb was detonated at the Trinity Test Site north of Alamagordo in New Mexico. Curiously these three sites fall in an almost perfect straight line, about a thousand miles long, that maps the connection between the planet and the nuclear project on to the land in the most unexpectedly graphic way.’
Coincidentally I have been returning to these themes, which I touched on in The Broken Cauldron, in the later sections of the new book I am writing, which explores more deeply the influence of the gods within the modern world and Gwyn’s connections with nuclear war and nuclear winter.
At the bottom of the essay I saw an old comment I left for Brian in 2015 mentioning a dream I had about Gwyn and nuclear winter, leading me to recall it. Brian notes that the spaceship made closest contact with Pluto on a dark moon and the moon was dark last night.
‘My soul, where are you? Do you hear me? I speak, I call you – are you there? I have returned. I am here again.’ Carl Jung
In his Red Book Carl Jung speaks of refinding his soul and rebuilding his relationship with her after a period of soul loss. He was called to do this by ‘the spirit of the depths’ who is opposed to ‘the spirit of this time’:
‘The spirit of this time would like to hear of use and value… that other spirit forces me nevertheless to speak beyond justification, use, and meaning… He took away my belief in science… my understanding and all my knowledge and placed them at the service of the inexplicable and the paradoxical. He robbed me of speaking and writing for everything that was not in his service.’
Jung records how the spirit of the depths opened his eyes to vision – to his soul, the things of the soul, and the soul world. This spirit forced Jung to stop treating his soul as a ‘scientific object’ and told him to ‘call upon her as a living and self-existing being. I had to become aware that I had lost my soul.’
Once he reached that awareness Jung called out to his soul and encountered her as a person and as a living landscape. She appeared to him in a number of guises (all female) – as Salome, as the spirit of a dead girl (who forced him to eat her liver!), as a serpent, and as a ‘small white bird’. She showed him a variety of visions, some of which predicted the First World War, some beautiful, most Hellish. She appeared to him as a desert, and, it may be argued, as the many places in Hell he explored.
Jung learnt that he is merely the ‘symbol and expression’ of his soul. She taught him that everything he does and says ‘comes from and belongs to me’. Ultimately he entered ‘the service of the soul’.
Jung’s words are of interest not only because they contain a great deal of mystical depth and wisdom but because they remind me of my own calling to serve Gwyn ap Nudd, a god of Annwn (‘the Deep’ – the soul world in the Brythonic tradition) and to restore my relationship with my own soul.
Like Jung I was called away from service to ‘the spirit of the times’ by ‘the spirit of the depths’.
From doing something ‘of use and value’ to the ‘inexplicable’ and ‘paradoxical’ – to ‘the service of the soul’. This happened when I decided to write my PhD thesis on ‘Imagination’ in William Blake’s prophetic books rather than trending topics and in my choice to write books based on personal visions that challenge the grounds of already obscure Brythonic/Welsh myths rather than a ‘how to’.
It’s only since I’ve accepted I’m never going to be able to make a living from such work and stopped using social media to publicise it I’ve managed to make space to journey and write more deeply.
Over the past month I’ve begun a quest, like Jung’s, for ‘a myth to live by’, that has been calling me even further away from the myths that others recognise from the medieval Welsh texts. To visions of my gods that are more direct, unfiltered by Christianised narratives, but less recognisable and hence relatable (unless, as I hope, I ultimately succeed on touching, through the personal, on the universal…).
In this space, as a way of repairing my own soul loss, I have been reconsidering my relationship with my soul. This began the day I met Gwyn leading the fairy funeral procession on Fairy Lane in my home town of Penwortham. Unlike in the original legend in which the fairies were tiny black-clad men clad with red caps they were taller than me and dressed in Victorian funeral garments. Gwyn, who I didn’t recognise, was wearing a black hat and leaning on a walking cane, his only recognisable feature being his long, silky white hair. As in the original the ‘fairies’ carried a coffin. And, like the hapless protagonist, I looked into the coffin and saw my own corpse. Only she looked ‘other’. Gwyn told me “a part of your soul is trapped in Annwn” before revealing his identity.
When I started journeying to Annwn with Gwyn I was reunited with this lost part of my soul. She appears as a warrior-huntress (who I am and/or watch) aboard my white winged mare with hounds. She’s everything I’m not – practical, courageous, able to fight, hunt her own food, survive in the forest.
At first I wondered whether this is simply facile wish fulfilment. Shouldn’t I, a suburban muppet, be more like my usual bumbling, clumsy, scatter-brained self? To this Gwyn replied with a resounding “No!” and told me this is the exact form my soul needs to take to get work done in his world.
I wasn’t completely certain she was my soul at first and I’m still not sure she’s the whole of my soul. Yet I haven’t found any other parts yet. I’ve has inklings in intuitions and dreams of past lives as a soldier and a nun but they feel like past selves my soul has inhabited rather than soul parts. There is also the dark magician who sometimes shows up in my dreams and who I’ve chased through a number of books and who I’ve always kind of wanted to be if only I was good at magic. I spent a while wondering if he is my animus* but have reached the conclusion he has his own enigmatic existence, that dark magicians don’t give away their secrets, and accepted him as a guide of sorts.
In contrast to Jung I’ve found that my soul rarely speaks to me. For the past eight years since I’ve journeyed with/as her she hasn’t said a word and it’s only since reading Jung I’ve tried to speak to her. This resulted in her telling me to ‘be silent’ and ‘to come’ (to see what she had to show me). This demonstrates it’s not that she can’t speak but she’s not very talkative. I’m guessing this may be because I’m so full of words and chatter and her silence compensates like with our other qualities.
I think it’s possible that my white winged mare and perhaps my hounds are also parts of my soul. I believe my mare has been with me since birth and am tentatively referring to her as ‘my soul animal’ or ‘my spirit animal’ (as opposed to ‘a spirit animal’) to avoid terms from other cultures such as ‘power animal’ or ‘totem animal’. This manifested early on in me galloping round and round the playground on my own pretending to be a horse when the other children were playing games. Eventually I started horse riding and spending all my time at a local riding school working for rides, training as a riding instructor, and later returning to a career in horses after finishing my PhD.
And with horses there were always yard dogs – labradors, terriers, the crazy cocker spaniel I shared a mobile home with. Unlike with horses I’ve never had my own dog (my parents are cat people) so I’ve never got to know dogs that intimately. Whilst I generally feel at one with my horse I often feel like I’m full of yappy excitable hounds jumping up and down inside me that refuse to calm down. Like the dogs that come and shake all over me or out me when I’m meditating I find them annoying. Whilst I’ve only got one horse** my first hound guide was an old shaggy wolf hound and he was replaced by two young Hounds of Annwn when I decided to make my lifelong dedication to Gwyn.
So my current view contrasts with Jung’s in that my soul appears as many parts at once. Also my soul is both male and female – my huntress is female, my mare is female, and both my hounds are male.
My main challenge in this deepening ‘service of the soul’ is learning to trust my soul. Putting aside my feelings of bitterness and resentment that my soul will never earn me any money and my fears that by following my soul away from known Brythonic mythology I may lose my already small audience.
But what are these fears compared to losing one’s soul?
*Mainly because Jung states that that men have a female anima and women have a male animus – a gendered binary logic that doesn’t ring true to me. **Ok there’s ‘the dark horse’ but I think he’s a water-horse, a land spirit, rather than a part of my soul.
Following the revelations that Anrhuna, the Dragon Mother, was reborn as Matrona and replaced by Mary I journeyed to find out more about the land of the dragons. My dragon guide took me on her back to view a scene where the sky was pink, the molten orb of the sun was shrouded by mist, stony platforms floated, and a red dragon flew slowly and majestically by, leaving traces of smoke in the air.
I felt touched and honoured by its beauty but at the same time realised I felt fragile, paper thin. I was no longer sitting on a dragon but was in the tenuous hold of two winged beings, one on each shoulder.
They took me to follow the red dragon into a cave which I instantly knew was ‘the Womb Room’, where Anrhuna’s womb was taken for safekeeping after she had been slain by the Children of the Stars. Within it was a mural of Mary with her child and all around it were red flames.
The red dragon told me that Mary must ‘burn’ so that Anrhuna could return to dragon form again.
Then I received the insight that it is we, humans, who are keeping Anrhuna as Mary in human form. But, knowing how many millions of people love her, I realised that even if I had the power to ‘burn’ her and thus take her away it would be wrong and that this was not my role or my place. I wondered whether ‘burn’ might have a different meaning to being burnt or being destroyed. Could there be some kind of revelation of Mary as Anrhuna in which just her image was burnt away?
At this point I realised that other humans had been to the Womb Room before me to paint the mural and that there were offerings there – a vase of flowers and coins and statuettes and other treasures.
I was afterwards told that the sun always hangs within this land and is ‘The End of Days Sun’. That it is a piece of ‘dragon art’. That the sun isn’t really in their land, but they create this art to remind them of the imminence of the End of Days. I had a feeling this was an important part of their lore.
This vision combined with my constant calling to ‘see Mary’ when I’m out walking, whether it is a visit to the site of St Mary’s Well and St Mary’s Church on Castle Hill in Penwortham, St Mary’s in Bamber Bridge, Our Lady and St Patrick in Walton-le-Dale, Ladyewell in Fernyhalgh, or the old St Mary’s in Leyland, prompted me to do some research on Saint Mary the Virgin in Christianity.
To my astonishment it revealed some imagery which fits quite closely with my vision. I found out that Mary is often identified with ‘the woman clothed with the sun’ in the Book of Revelations. She appears ‘with child’ ‘travailing in birth’ then appears ‘a great red dragon’ waiting to devour the child (!).
The child (Jesus) is taken up to the throne of God and the woman flees to the wilderness. Hence follows the battle between the angels and the dragon (the Devil) and his angels and their casting out. The dragon persecutes Mary but she is given eagle’s wings with which to fly away. He then tries to drown her in a flood of water but the earth saves her by swallowing it. Finally he turns on her descendants.
Here we find Mary with child and burning or ‘clothed with the sun’ which is also ‘the End of Days Sun’ relating to the time of apocalypse or revelation and a reference to a primal battle against a dragon.
Only the stories are very different. In the Christian story the red dragon is the adversary of Mary, God, with whom she conceives her son, and his angels, who battle against the dragon/Devil and his angels. In the story I have been gifted the war between Anrhuna as the Dragon Mother and the Children of the Stars has already taken place and the red dragon is advising me to ‘burn’ Mary. It is, at least, interesting that Mary was given eagle’s wings and I was held in the air by two winged beings.
I have no idea what to make of these complex overlappings and reconfigurings of images yet but feel that in some sense revealing them here is part of the process through which Mary may burn yet not be burnt. Perhaps like the burning bush – ‘the bush burned with fire, and the bush was not consumed.’
When I went to visit Mary at Our Lady and Saint Patrick’s on the first of June it was sweltering. She looked serene. Contrastingly my backpack was sweated to my back and the sun was scorching my bare calves.