Bulletin 4 The Song of Amergin (The following is paraphrased from +quot;The Wh

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旼컴컴컴컴컴컴커 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴캑 Bulletin 4 쳐컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴 읕컴컴컴컴컴컴켸 The Song of Amergin (The following is paraphrased from "The White Goddess" by Robert Graves) Reputable ancient documents suggest that modern poetry began as a magical language tied to popular religious ceremonies in honor of the Moon Goddess, or Muse, some of them dating to the Old Stone Age. We know now that this early language was tampered with in late Minoan times when Kurgans from Central Asia began to substitute patrilinear for matrilinear institutions. The popular myths from the Mediterranean that we are familiar with today can be proven to be ancient recordings of actual events falsified and remodeled by the invaders to justify today's social structure. This ancient language survived through Greek and Roman times in mystery cults. When the mystery cults were suppressed by the early Christian Emperors, the magical language was still taught in the poetic colleges of Ireland and Wales, and later in the witch-covens of Europe. As a popular religious tradition, it all but flickered out at the close of the seventeenth century. To Pagans, English poetic education should really begin, not with the Canterbury Tales, not with the Odyssey, not even with Genesis, but the Song of Amergin. This poem, an ancient Celtic calendar-alphabet, is found in several purposely garbled Irish and Welsh variants, and briefly summarizes the prime poetic myth. The 'Song of Amergin' is said to have been chanted by the chief bard of the Milesians, as he set foot on the soil of Ireland, in 1268 B.C.E. 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴 T H E S O N G O F A M E R G I N I am a stag: of seven tines, I am a flood: across a plain, I am a wind: on a deep lake, I am a tear: the Sun lets fall, I am a hawk: above the cliff, I am a thorn: beneath the nail, I am a wonder: among flowers, I am a wizard: who but I Sets the cool head aflame with smoke? I am a spear: that roars for blood, I am a salmon: in a pool, I am a lure: from paradise, I am a hill: where poets walk, I am a boar: ruthless and red, I am a breaker: threatening doom, I am a tide: that drags to death, I am an infant: who but I Peeps from the unhewn dolmen arch? I am the womb: of every holt, I am the blaze: on every hill, I am the queen: of every hive, I am the shield: for every head, I am the tomb: of every hope. 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴 It is unfortunate that, despite the strong mythical element in Christianity, 'mythical' has come to mean 'fanciful, absurd, unhistorical'. Fancy played a negligible part in the development of the Greek, Latin, and Palestinian myths, or of the Celtic myths until the Norman-French added their reckless romances of chivalry. Myths are merely the records of ancient religious customs or events, and reliable enough as history once their language is understood. Allowance has to be made for errors in transcription, misunderstandings of obsolete rituals, and deliberate changes made for moral or political reasons. To solve these complex mythological problems and arrive at the history beneath them, always remember: "Conquering gods their titles take From the foes they captive make." Your comments on the meanings implied in "The Song of Amergin" are always welcome. 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴 The Gaia Hypothesis BBS, Mount Plymouth FL, 904-383-0907


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