There is a temporary sale on the ebook version of Game of Kings by Dorothy Dunnett. This is the first volume of her six-part historical novel series The Lymond Chronicles, for a mere $1.99.
The Lymond Chronicles (or The Chronicles of Lymond) are set during the late 1500s, overlapping the end of the reign of Queen Mary, and the start of Queen Elizabeth I. The locations range from Scotland, Ireland and England to Turkey, France and Russia. The books feature a complicated swashbuckling hero, Lymond, or more specifically Francis Crawford of Lymond. He’s complex, erudite and sometimes, a right bastard. The Lymond Chronicles also feature a number of other fascinating characters, real and fictitious, and some beautifully written women. The prose is lovely, and the story is funny, tragic and gripping by turns. You can read a short excerpt of The Game of Kings on the publisher’s site.
I love these books so very much. If you haven’t met them yet, the first book, The Game of Kings, is currently on sale in ebook form for $1.99 from Amazon (for Kindle) and from Apple’s iBooks.
Go. Now. While it’s on sale. Or got to your local library or bookshop, but do read them. This summer is a great time to start reading all six books (they are better read in order, but I confess I skipped a couple the first time, because I couldn’t find them all).
I can’t really think about Halloween, or Samain, if you prefer, without thinking of the ballad of “Tam Lin,” especially this part:
And ance it fell upon a day
A cauld day and a snell,
When we were frae the hunting come,
That frae my horse I fell,
The Queen o’ Fairies she caught me,
In yon green hill to dwell.
And pleasant is the fairy land,
But, an eerie tale to tell,
Ay at the end of seven years
We pay a teind to hell;
I am sae fair and fu o flesh,
I’m feard it be mysel.
But the night is Halloween, lady,
The morn is Hallowday;
Then win me, win me, an ye will,
For weel I wat ye may.
Just at the mirk and midnight hour
The fairy folk will ride,
And they that wad their true-love win,
At Miles Cross they maun bide.
— “Tam Lin” Child Ballad 39A.24
“Tam Lin” is one of the Child Ballads, a collection of several hundred early English and Scottish popular ballads collected by Francis James Child. Most of the Child ballads are from the sixteenth century. Some few are older. You can find a list of the Child ballads by number here. A few of the ballads are older than the earliest printed sources; “Tam Lin” is one of those. It’s also one of the best known of the Child Ballads; there are lots of covers by folk rock bands, as well as more traditional singers.Probably the best known cover of Tam Lin is this 1969 performance by British folk rock band Fairport Convention, from their lovely Liege and Leaf album. You can find the entire text of the ballad in multiple versions at Abigail Akland’s site TamLin.org. You may be familiar with the story of Tam Lin from one of the novels inspired by the balladA fair number of writers have used all or parts of the ballad of Tam Lin in their books. Pamela Dean’s Tam Lin and Elizabeth Marie Pope’s YA The Perilous Gard are two of my favorites. Other … Continue reading.
The basic story line of “Tam Lin” tells how Tam Lin was kidnapped or “taken” by the queen of the fairies when he falls off a horse while hunting. He is destined to be sacrificed by the fairies on Halloween, as a teind or tithe to Hell, unless his mortal (and pregnant) lover Janet rescues him.
One of the reasons I find Tam Lin’s tale compelling is that it’s very much tied to the idea of seasons, and to the medieval Celtic idea that at Samain (or the modern related holiday Halloween) the Otherworld is closer to this world, and thus allows more ready passage between the two. Halloween is a liminal time. Samain was at its heart a harvest festival, a time when animals and crops were taken and consumed.
When Janet rescues her lover, it is at midnight, a time between day and night, a time that is thus, because of its liminal nature, outside of time, much the way Samain lies outside of time, between seasons.
The rescue takes place at Miles cross, that is, at a crossroads, a place between places, a place that is liminal in that it partakes of two or more places at once. Crossroads, places where two roads, or two tracks meet, represent decision points; you must choose which road to follow. Crossroads are liminal in that if you stand in the center, you are not really “at” any of the four roads; you are in a special place that is “between”; between roads, between choices. It is at once “some place,” and “no place.” Consequently, crossroads are rich with potential in folklore. They are, for instance, a logical place for a deal with the devil.
In the ballad of Tam Lin, Tam Lin, about to be offered as a tithe to Hell by the fairies, tells his mortal lover Janet that she must meet him and pull him from his horse when he rides with the fairies:
Just at the mirk and midnight hour
The fairy folk will ride,
And they that wad their true-love win,
At Miles Cross they maun bide.
Janet can rescue Tam Lin from the fairies at at midnight because it is between night and day, and at Miles Cross because it’s a crossroad, a place that is neither fairy nor mortal turf but that is “between” territories, and hence, neutral territory. Crossroads are places where journeys are shaped, because the traveler must make a choice about which path to take.
Although Samain was principally a harvest festival, a time for feasting and giving thanks for the harvest as you consume what won’t keep, there are several references to a tax due at Samain; for instance, in the Lebor Gabala Eirenn, during the reign of Nemed, we are told that the descendants of Nemed were taxed by the Fomoire:
§44. Two thirds of the progeny, the wheat, and the milk of the people of Ireland (had to be brought) every Samain to Mag Cetne. Wrath and sadness seized on the men of Ireland for the burden of the tax. They all went to fight against the Fomoraig.(Lebor Gabala Eirinn. Ed. Trans. R. A. S. MacAlister. Irish Text Society 1832.
Here Samain is associated with tax-gathering, paying a tithe, an appropriate thing to do at the end of the harvest. It might in fact be considered a kind of sacrifice, since the Formoire were certainly supernatural.
In the ballad, Tam Lin says that
Ay at the end of seven years
We pay a teind to hell;
I am sae fair and fu o flesh,
I’m feard it be mysel.
The idea of the teind, an old Northern word for a tithe, is particularly intriguing in light of the timing of Samain in the late autumn. The Medieval English Thomas Of Erceldoune (closely related to Child Ballad #37 “Thomas the Rhymer”) makes a similar reference to “þe foulle fende” fetching his fee in the form of a human sacrifice. The fairy queen who absconded with Thomas when she found him sleeping under the Eldone Tree, tells him she must return him to the mortal world lest he be sacrificed:
“To Morne of helle þe foulle fende
Amange this folke will feche his fee;
And þou arts mekill mane and hende,—
I trowe full wele he wolde chose the.
ffor alle þe gold þat euer may bee,
þou bese neuer be trayede for mee;
þere fore with me I rede thou wende” (ll. 289–94).Thomas of Erceldoune is a 15h century medieval romance. The best text is that of the 15th century Lincoln Cathedral MS. 91. The Thornton Ms. Nixon, Ingeborg. Ed. Thomas of Erceldoune. Publications … Continue reading
One of the more interesting aspects of the liminality of Halloween (and the earlier Samain) is that the ease of passage between the mortal world (or Middle Earth as Thomas of Erceldoune has it) and the fairy otherworld on Halloween, as on May Day (or Beltaine) marks the way the otherworld is dependent on this world, even if it’s only for occasional sacrificial victims. Another interesting facet is that in both the story of Tam Lin, saved by the love of his mortal sweetheart Janet, and in the case of Thomas the Rhymer, saved by the love of his immortal sweetheart the fairy Queen, love wins the day.
A fair number of writers have used all or parts of the ballad of Tam Lin in their books. Pamela Dean’s Tam Lin and Elizabeth Marie Pope’s YA The Perilous Gard are two of my favorites. Other writers, principally Patricia McKillip in Winter Rose and Elizabeth Bear in Blood and Iron and Whiskey and Water use the ballad in interesting and compelling ways.
Thomas of Erceldoune is a 15h century medieval romance. The best text is that of the 15th century Lincoln Cathedral MS. 91. The Thornton Ms. Nixon, Ingeborg. Ed. Thomas of Erceldoune. Publications of the Department of English University of Copenhagen. Volume 9 Part 1 Thomas of Erceldoune. Volume 9 Part 2 Introductions, Commentary and Glossary. Copenhagen: University of Copenhagen, 1980.
I’m delighted that Medievalist bloggers Scott Nokes and Michael Drout of Wormtalk and Slugspeak are back blogging. (Professor Drout also began blogging in 2002). The blogosphere, as some call it, has changed a lot since I started, but then so have I. Michelle Ziegler is actively blogging at Heavenfield, Tim Clarkson at Senchus, and a number of other medievalists in the blog roll to the right are still going strong, but I’m especially happy to see Scott and Michael back and blogging.
I confess that I’ve been so very busy writing about things neither medieval or Celtic, that Scéla has been neglected. And I’ve noticed that my fellow medieval bloggers haven’t been much more active in terms of blogging.
I further confess that I’m moving this month. And, perhaps most telling of all, I’m a Christmas junkie. So I’m going to post about Christmas stuff for most of this month. Now, since I’m a Medievalist, and a Celticist, there’s going to be a decided Medieval and Celtic bent, so’s to speak, to these posts, but they will be Holiday Oriented. Some of them will involve Music. Many may involve intoxicating liquors.
I began Scéla, my first real blog, on January 21, 2002. That’s eight years of more-or-less regular blogging. You can still read my first post, which is very much an instance of me trying to figure out blogging as a tool for sharing content.
Since then, I’ve finished my Ph.D. I’m now blogging quite a lot—though not, alas, blogging as often as I would like here. I’ve moved Scéla from my primary site at Digitalmedievalist.com, to here, at Digitalmedievalist.net [ETA: and back again as of 11/15/2014]. I’ve also converted from Blogger to WordPress, and am iconverting the Celtic Studies Resources content from static pages (pages that go back in some versions to 1997) to WordPress.
When I began, I was the Digital Medievalist. Now, there’s an organization. When I began, I was one of about five Medievalist bloggers; now, there are about sixty of us, and three or four that emphasize Medieval and Celtic.
It’s the time of year when I start seeing incredibly daft posts about the antecedents of Halloween, particularly Samain (Samhain, for you moderns). This year, I’ve created an FAQ about Samain, and what it means.
For those of you already in the know, here’s a link to a translation by Kuno Meyer of the very odd Echtra Nera, mostly based on Eg. 1782. Echtra Nera is a tale tied closely to Samain, and features a sojourn in a síd, as well as the observation that “the fairy-mounds of Erinn are always opened about Halloween.”
In the beginning of the tale, a dead man directs Nera to take him to a house for a drink; he rejects houses that properly stow washing water and slop-pails at night, for one that violates purity sanctions, and has a washing-tub, and a bathing-tub and a slop pail, available.
He then drinks a draught of either of them and scatters the last sip from his lips at the faces of the people that were in the house, so that they all died. Henceforth it is not good [to have] either a tub for washing or bathing, or a fire without sparing, or a slop-pail in a house after sleeping.
We have in this medieval Irish text the same association of purity and the otherworld that Pistol alludes to in Shakespeare’s Merry Wives of Windsor when he says:
Elves, list your names; silence, you airy toys.
Cricket, to Windsor chimneys shalt thou leap:
Where fires thou find’st unraked and hearths unswept,
There pinch the maids as blue as bilberry:
Our radiant queen hates sluts and sluttery (V.v).
We see this same association in the sometimes-attributed-to Ben Jonson “Robin Goodfellow,” in which Robin the fairy or Puck says:
When house or harth doth sluttish lie,
I pinch the maids there blacke and blew.
Herrick too uses the same motif of poor housekeeping earning otherworldly punishment in “The Fairies”:
IF ye will with Mab find grace,
Set each platter in his place;
Rake the fire up, and get
Water in, ere sun be set.
Wash your pails and cleanse your dairies;
Sluts are loathsome to the fairies;
Sweep your house, who doth not so,
Mab will pinch her by the toe.
She turned about her milk-white steed,
And took True Thomas up behind,
And aye wheneer her bridle rang,
The steed flew swifter than the wind.
“Thomas the Rhymer A” Child 37
The horse she rode on was dapple gray,
And in her hand she held bells nine;
I thought I heard this fair lady say
These fair siller bells they should a’ be mine.
“Thomas the Rhymer B” Child 37
In the first branch or tale of the medieval Welsh mabinogi Pwyll Pendeuic Dyfed, Pwyll and his retinue, desiring to see a marvel (rywedawt), sit on the mound or gorsedd of Arberth, where he in fact does see a marvel:
As they were sitting, they saw a woman mounted on a great, majestic pale-white horse, dressed in brilliant gold silk brocade, coming along the main road that ran past the mound. To anyone who saw it, the horse appeared to have a slow, steady gait as it came even with the mound (Ford, Patrick K, trans. The Mabinogi and Other Medieval Welsh Tales. Berkeley: University of California Press, 1977. 42).
Ac wal y bydynt yn eisted, wynt a welynt gwreic ar uarch canwelw mawr aruchel, a gwisc eureit, llathreit, o bali amdanei, yn dyout ar hyt y prifford a gerdei heb law yr orssed. Kerdet araf, guastat oed gan y march ar uryt y neb a’y guelei, ac yn dyuot y ogyuuch a’r orssed (PKM 9; PPD ll. 203–07).
For three days, no matter how they try, neither Pwyll nor his followers are able to catch up to the woman, despite riding Pwyll’s fastest horses (Ford 1977, 43–44).
This is neither a normal horse, nor a normal rider. The horse is described as “uarch canwelw mawr aruchel,” that is, a pale white horse. A pale horse, usually white or gray, is typical for an otherworld mount (Ford, 1977, 8). The inability of Pwyll and the other men to keep up with the woman, never mind overtake her and her otherworldly horse, is reminiscent of other otherworldly animals and psychopomps, like the magnificent white hinds of Breton lais like Graelent, or like the the otheworldy horse Arawn, the king of the Welsh otherworld, rides when he meets Pwyll in the first part of the same text:
Pwyll Prince of Dyfed, is hunting at dawn in Glyn Cuch. He has released his hounds ahead of him when he is separated from his companions. Pwyll hears first his own pack, and then another pack coming towards his and answering them. At the edge of a level clearing he sees a pack of unfamiliar, white, red-eared dogs bring down a stag.
Despite the strange appearance of the dogs, Pwyll drives them off the stag in favor of his own pack. While Pwyll’s dogs are feeding, a stranger rides up.
As he was feeding the dogs, he saw a horseman coming up behind the pack on a large dapple-gray horse, a hunting horn about his neck, wearing a pale grey garment for hunting gear (Ford 1977, 37).
Ac ual y byd yn llithiau y cwn, ef a welei uarchauc yn dyuot yn ol yr erchwys y ar uarch erchlas mawr; a chorn canu am y uynwgyl, a gwisc o urethyn llwyt tei amdanaw yn wisc hela (PKM 2; PPD ll. 25–27).
The stranger’s horse (later we learn he is Arawn, lord of the Welsh otherworld) is described as erchlas a compound formed of erch “speckled, dappled” and glas (GPC glas). Welsh erch is cognate with Irish erc 2 “speckled, also dark red” (DIL erc).
Spots, dappling or speckling, like gray and white, are otherworld markers (Tymoczko 1981, 87) in medieval Celtic narratives (Welsh 1989, 24). Welsh and Irish each contain two words for gray, one of which (glas in both languages) refers to a color spectrum from dark blue-gray through sea-green to a pale foggy tint. The GPC entry for glas offers “light blue, pale blue, pale green, grayish-blue, slate-coloured,” and cites glas being used to mean “transparent,” when, for instance, the color is applied to rain. The Indo-European root for glas is *ghel-, the root which gives us a variety of words in English that relate to shiny things (glint, gleam, glitter) and glass, as well as a range of yellow-ish things, like gold and gall (AHD *ghel), again, connoting a bright, shifting, shining effect. While Glas describes a shifting tonality associated with liminal states, the other gray (in Welsh llwyd, in Irish liath) is typically used to describe hair or beard color (Coe 1989). Gray, neither black nor white, the color of dusk and pre-dawn, is, like dapples and speckles, a liminal coloration, neither one thing or the other, located in the area between two colors.
Sioned Davies points out that “‘fairies riding white horses’ is an international motif”—which in fact it is, specifically FF241.1.1.1 in the Stith Thompson motif index (Davies, Sioned and Nerys Ann Jones Eds. The Horse in Celtic Culture. Cardiff: University of Wales Press, 1997. 126). Ballads and romances are filled with otherworld folk favoring white horses; in Sir Orfeo, the fairy king is accompanied by otherworld knights “al on snowe-white stedes” (l. 144). There are some really interesting things about this white/gray/dappled horse obsession. First, unless the horse is a true albino, born without any pigment, it isn’t a white horse, it’s a gray horse. Mostly such horse are born dark, and get lighter as they age. There are lots of specific breeds known for this color shift—Icelandic horses (ponies, for those counting hands), for instances, and the horses from the Camargue, and the Connemara ponies, too.
Nature Genetics July 20, 2008 has published an article by Leif Andersson of Uppsala University, parto of a collaborative resarch team whose research indicates that gray or “white” hair coloring is caused by a single, unique genetic mutation. The research suggests that this mutation must have been inherited from a common ancestor that lived thousands of years ago. Andersson says in this Science Daily summary:
It is a fascinating thought that once upon a time a horse was born that turned grey and subsequently white and the people that observed it were so fascinated by its spectacular appearance that they used the horse for breeding so that the mutation could be transmitted from generation to generation.
The original article points out that the mutation is closely tied to cancer, and suggests that humans almost certainly interceded to encourage the mutation: “The Gray horse provides a notable example of how humans have cherry-picked mutations with favorable phenotypic effects in domestic animals.” The Nature Genetics piece is here.
I’m going to be doing a link-post to others who are blogging Kalamazoo, and maybe add some general impressions of my own, in a bit. I’ve uploaded my paper on medieval fairies, and speech and silence in Sir Orfeo, Thomas of Erceldoune, and Sir Gawain and the Green Knight “‘They are fairies; he that speaks to them shall die’: Speech and Silence in Medieval Fairy Narratives” here. Mostly I’m smug that I aimed for a fifteen minute paper, and I nailed it, even though it meant reducing about twelve thousand words to three thousand.
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.
Carol, the beloved wife of Richard A. Lanham, died November 5, 2007 of a brain hemorrhage at age 71. Her husband of fifty years was at her side when she died. Carol was born in Englewood, NJ on January 18, 1936, the daughter of Irma P. and David W. Dana. She was educated at Marblehead High School, Marblehead, Massachusetts; and at Connecticut College for Women, New London, CT, where she graduated, in 1957, cum laude and Phi Beta Kappa. She took her Ph.D. at UCLA in 1973, with a special field in Medieval Latin. She subsequently was a Visiting Assistant Professor of Classics at Brown University and tutored in Latin at the Getty Center. From 1978-87, she was Senior and then Principal Editor at the UCLA Center for Medieval and Renaissance Studies. She was a member of the American Philological Association, the Medieval Latin Association of North America, and the Medieval Academy of America, where she served as a Council member, 2002-2005. She is the author of Salutatio Formulas in Latin Letters to 1200: Syntax, Style, and Theory (1975) and the editor of Latin Grammar and Rhetoric: From Classical Theory to Medieval Practice (2002). Her best essay, in her husband’s estimation, is “The Bastard at the Family Reunion: Classics and Medieval Latin,” which appeared in Classical Journal in 1975. Although her name does not appear on the title pages of her husband’s books, her learning and good sense appear on almost every page of them. She is survived by her husband, Richard; by her aunt, Marion Spear; and by her cousins, Kathryn Spear Lacey, Robert Spear, and Stephen Spear. A memorial will be held Tuesday, November 13, 2007, 5 p.m., in the Hacienda Room of the UCLA Faculty Center, 480 Charles E. Young Drive, East.
I can’t begin to describe how much Carol affected my life, as friend, mentor and role model. She taught me more about editing and scholarly ethics than anyone, just by watching how she worked. This is a sample of the kind of thoughtful, intelligent, and solid scholarship she routinely produced, with care and joy.
In paradisum deducant te Angeli:
in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem.
Chrous Angelorum te suscipiant, et cum Lazaro quondam paupere aeternam habeas requiem.
This is the third in a series of posts about fairies as other. I promised, in my first post, to concentrate on fairies as other, particularly in the context of sex and death, because, as MacAllister Stone notes “other is all about sex and death.” Last time I looked at the tragic death of Bridget Cleary, burned because her husband Michael thought Bridget was the victim of a fairy abduction. This time I want to look at the story of Bridget Cleary in the context of sex and death.
In Bridget Cleary we have a woman who is seen as other, an outsider in her community because of her differences, differences which are particularly marked for a woman in nineteenth century Ireland where an assertive, opinionated and financially independent woman without children is very much seen as an anomaly. In the March 29, 1895 >Cork Examiner special report on her death, the reporter, having interviewed locals, describes Bridget as
“a bit queer” in her ways, and this they attribute to a certain superiority over the people with whom she came into contact . . . Her attire . . . is not that of every woman in the same social plane (Bourke 2000, 43).
Bridget was perceived as an outsider, “a bit queer,” even by another outsider.
The attention paid to Bridget Cleary’s clothing and body in the descriptions of her “cure,” in the careful details about the extent of her clothing in the court testimony (presumably, as Bourke suggests, to remove any thought of sexual impropriety) underscore the sexual subtext of the situations. Bourke observes that despite the “prudery” in the eye witness accounts
the violence meted out to Bridget Cleary before her death has an unmistakeably sexual character. On Thursday, when he used a metal spoon, and again, on Friday, when his weapon was a burning stump of wood, Michael Cleary’s actions amounted to a kind of oral rape. On both occasions Bridget Cleary was pinned down and prevented from struggling free, while a substance was forced into her body. . . . [the inquest revealed signs of injury to her mouth and throat] The violence used in holding Bridget down was certainly not sufficient to kill her, but its scale and ferocity would have been enough to terrify her, and to show her and anyone watching just who was master (Bourke 2000, 120).
Michael Cleary may very well have felt he needed to assert himself, not only against the uncanny malice of fairies, but as a man with an assertive, financially independent wife, a wife who may well have had a lover. Most of all, he may have felt it was imperative to assert himself given community pressure regarding his relationship with a wife who had not born him any children, which would have been very much seen as a failing by the community. One reason Bridget was taken by the fairies might have been her childless state; the unvoiced assumption being that since she had no children, that there was some sort of sexual failure, a situation that wasn’t helped in the least by the fact that Michael was nine years older than Bridget and that they spent most of the first few years of their marriage apart except on weekends (Burke 2000, 96).
The standard academic way to refer to fairies taking mortal women is to call it fairy abduction, or, more commonly, fairy rape, particularly in medieval texts. Corinne Saunders, writing about Middle English romances that involve fairy abductions and rapes points out that “What is most striking in all these works is the association of the otherwold with sexual violence or desire for possession of the woman’s body” (Saunders, Corinne J. Rape and Ravishment in the Literature of Medieval England. Cambridge: D. S. Brewer, 2001. 233).
Both Bridget Cleary and Heurodis are perceived as victims of a fairy rape.The fairy king threatens to tear Heurodis limb from limb if she doesn’t come willingly, and tells her that she’ll be taken to the otherworld even if they take her in pieces. Bridget is mistreated physically, dosed with “cures,” verbally abused, then doused with human urine before being burned. The overt physicality of the way Bridget Cleary was treated, the man-handling of her, is an inversion of the customary fairy threat to a mortal victim; with Bridget Cleary, we see mortals abusing what they think is a fairy changeling, though she is a mortal woman—her sex is a huge part of the reason she is treated his way.
Women who are assertive, and independent, who dress better than their peers, women who are financially independent, women who have no children, forthputting women who approach men, fairy mistresses and otherworld women like Rhiannon, these are other. They are potentially dangerous to the community, because they disrupt the natural order, or the perceived natural order. These women who like Heurodis are in the right place and the right time, and who, like Bridget, go to the forbidden liminal areas, are just as disruptive as the ostensible external agency, the fairies, who take them. It’s bad enough to have a child or lover taken by the otherworld, but what’s worse for those left behind are the mortals who go off with their fairy wooer, quite happily, and the abducted mortal women who choose to stay in the otherworld, rather than return to their mortal husband and children.
Bridget Cleary was perceived as dangerous and engaging in risky behavior; Michael Cleary objected to her going to the rath, and did all he could to “bring her back.” Underlying his frantic, desperate efforts, almost certainly, was the fear that Bridget might not want to come back. In court testimony from Johanna Burke, Bridget is said to have told her husband, shortly before he set her on fire, “Your mother used to go with the fairies, and that is why you think I am going with them.” Michael Cleary asked Bridget, “Did my mother tell you that?” She said, “She did; that she gave two nights with them” (Folklore 1895, 375). There’s a very definite sexual connotation to “she gave two nights with them,” particularly given the numerous references to fairies taking mortal lovers in medieval literature and folklore.
Otherworld folk are not shy about making sexual conquests. Rhiannon is very much seeking Pwyll as her spouse when she comes to the gorsedd in the first branch of the Welsh Mabinogi, Pwyll Pendeuvic Dyfed. The fairy queen in Thomas of Erceldoune is more than willing to take Thomas as her lover, keeping him mute but with her in the otherworld for seven years, before returning him to the tree where she found him, saving him from becoming a human sacrifice. She leaves him with an unwelcome gift, the ability to prophesy, thus converting him from dangerous other, to magical other with a redemptive gift for the community.
In Sir Orfeo, Heurodis returns from the fairy otherworld because Orfeo rescues her, and both return to Orfeo’s kingdom. At the end we are told Orfeo leaves the kingdom to his faithful steward since Heurodis has no children and Orfeo has no heir. We rarely hear or read of otherworld folk having progeny, and when we do hear about fairy offspring, say the child of the Grey Selchie, the offspring are the result of liasons between mortals and fairies, or other otherworld residents, and the children usually come to a bad end. Pwyll’s otherworld bride Rhiannon is scorned by Pwyll’s people because she is childless. Later, when Rhiannon has a child, the child mysteriously disappears. Rhiannon is typical in being less than fecund; otherworld folk are seemingly sterile, and, perhaps consequently, obsessed with taking fertile mortal women, and young children. Just as with other Others, say Gypsies, or whatever a given community’s racial/ethnic minority is, or queers, in stories about fairies and otherworld intruders it’s a case of “They want our women, and our children, and our women want sex/more sex/better sex, and so they voluntarily go with these Others, and leave us, and sometimes, they refuse to come back.”
I think that fear—the fear that Bridget wants to be with the fairies, with the other, is what’s underlying the Bridget Cleary horror. It’s interesting to note, as Bourke does, that in the spring of 1895 that the Irish papers, and some of the English papers too, were carrying stories about the “witch burning” in Clonmel, Oscar Wilde was on trial for sodomy. It’s also the date of the first attested use of “fairy” to mean queer. Both the OED and the Random House Historical Dictionary of American Slang cite the following reference from theAmerican Journall of Psychology as the first use of fairy to mean queer, or as the OED has it ” A male homosexual”:
“The Fairies of New York” are said to be a similar secret organization. The avocations which inverts follow are frequently feminine in their nature. They are fond of the actor’s life, and particularly that of the comedian, requiring the dressing in female attaire, and the singing in imitation of the female voice, in which they often excel” American Journal of Psychology VIII (1895): 216.
I’ve been looking at the connection between fairy and queer for a long time, and I think there are a couple of reasons for fairy being used to mean queer. First, I think it works because there’s an association between fairies and an absence of progeny despite their overt eroticism, and the assumption, for many, that being queer has to do only with sex, that it’s all about sex, and that it’s sex without fear of progeny, just like real fairies.
Next time, I’m going to look again at medieval fairies as ways of dealing with other, and sex, and death.
Here are some references to match my citations.
“The ‘Witch-Burning’ at Clonmel.” Folklore. Vol. 6, No. 4. (Dec., 1895): 373-384. JStor link.. This is an anonymous article that reprints the newspaper coverage of the court testimony.
Thomas of Erceldoune. Scroll down to the Appendix for the text as printed by Francis Child, as part of the versions of Child Ballad 57 “Thomsas the Rhymer.” You can find Murray’s 1875 edition of the romance here.
Ford, Patrick K. trans. The Mabinogi and Other Medieval Welsh Tales. Berkeley: University of California Press, 1977.
Bourke. Angela. The Burning of Bridget Cleary. New York: Viking Penguin, 2000. This really is the best study; there’s another slightly more recent book that’s vastly inferior.
Saunders, Corinne J. Rape and Ravishment in the Literature of Medieval England. Cambridge: D. S. Brewer, 2001.