While It’s Still St. Patrick’s Day . . .

Here’s a little something for your enjoyment — a video for the song “Patrick Was A Gentleman” as performed by the Wolfe Tones. Enjoy!

St. Patrick’s Day

“And many gifts were offered to me with weeping and tears, and I offended them [the donors], and also went against the wishes of a good number of my elders; but guided by God, I neither agreed with them nor deferred to them, not by my own grace but by God who is victorious in me and withstands them all, so that I might come to the Irish people to preach the Gospel and endure insults from unbelievers; that I might hear scandal of my travels, and endure many persecutions to the extent of prison; and so that I might give up my free birthright for the advantage of others, and if I should be worthy, I am ready [to give] even my life without hesitation; and most willingly for His name. And I choose to devote it to him even unto death, if God grant it to me.”

from The Confession of St. Patrick

Because I’ve Been Feeling Very Scottish Lately . . .

I created this version of a Highland Dancer with HeroMachine v. 3.0.

Here also is a poem about a Scottish lass by William Wordsworth. (Not a bad poem, even if he was a stuffy English git).

The Solitary Reaper

BEHOLD her, single in the field,
Yon solitary Highland Lass!
Reaping and singing by herself;
Stop here, or gently pass!
Alone she cuts and binds the grain,
And sings a melancholy strain;
O listen! for the Vale profound
Is overflowing with the sound.

No Nightingale did ever chaunt
More welcome notes to weary bands
Of travellers in some shady haunt,
Among Arabian sands:
A voice so thrilling ne’er was heard
In spring-time from the Cuckoo-bird,
Breaking the silence of the seas
Among the farthest Hebrides.

Will no one tell me what she sings?—
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago:
Or is it some more humble lay,
Familiar matter of to-day?
Some natural sorrow, loss, or pain,
That has been, and may be again?

Whate’er the theme, the Maiden sang
As if her song could have no ending;
I saw her singing at her work,
And o’er the sickle bending;—
I listen’d, motionless and still;
And, as I mounted up the hill,
The music in my heart I bore,
Long after it was heard no more.

Hat tip for the text of “The Solitary Reaper” to Bartleby.com

Celts, Pagans, and Superheroes, Oh My!

A few entries ago, I told you about my idea for the Celtic League of Superheroes, a team of costumed crime-fighters originating in the Celtic countries and saving the world from various nasties found in Celtic mythology and folklore. It seems I’m not the only one to think of such a thing, because now Pendant Audio. is producing its own original Celtic-themed superhero show, “Genesis Avalon” that has a good many similarities to my Celtic League concept. What’s more, in the director’s commentary for the first episode, the show’s creator, Kathryn Pryde, says she has the first three seasons of the show, 36 episodes, plotted and scripted. After two years, I’m still floundering around with the first draft of my main character’s origin story.

I didn’t listen to the first few episodes of “Genesis Avalon,” first of all, because I didn’t want them to influence my development of the Celtic League of Superheroes concept. I reconsidered my decision because I decided I needed to see how others are developing similar material. After all, if you’re developing a product, you have to know what the competition is up to. The second reason I chose not to listen to the show, however, was that I feared it would devolve into what was essentially a commercial for neo-paganism and its contemporary incarnations such as Wicca—something that, as an author, a practicing Catholic, and a person of Celtic ancestry, I did not want to happen with my Celtic League concept.

Let me make two things perfectly clear. First, I love Pendant Audio. I listen regularly to many of their shows, especially the “fanfic” type shows based on DC Comics characters, and wouldn’t have known about Genesis Avalon at all if I didn’t. They are an extremely talented group of people who do a lot of hard work of very high quality solely because they love it.

Second, I realize that there have been elements of mythology, mysticism, magic, and mumbo-jumbo in superhero comics probably ever since Billy Batson learned to say “Shazam!” and become Captain Marvel. That, in and of itself, does not bother me. What bothers me, both as a Celt and a Catholic, is that certain modern neo-pagan occultists have appropriated names and terms from Celtic mythology and folklore (including the word “Celt” itself) to fabricate a modern religion for themselves and to promote that religion and its ideology—a religion and ideology that are directly and deliberately opposed to my Catholic faith.

My original nickname or handle when I first ventured out onto the internet via AOL was MrCelt (“Mr. Celt”). My user profile listed Catholicism as one of my interests. I was told by some grossly misinformed person in a chatroom, “You can’t be a Celt and be a Christian.” I am wearing a Celtic cross around my neck that says otherwise. Irish, Scottish, and Welsh converts to Christianity brought the gospel to much of the rest of Europe, thank you very much, founding churches, monasteries, and schools that are in existence to this day. I daresay that millions of Celtic Christians in Ireland, Scotland, and Wales today, both Catholic and Protestant, would also disagree with that statement. I resent the fact that the mythology and culture of my ancestral countries is being used to promote an agenda contrary to my faith, which once brought there, took deep root in those ancestral countries.

It’s not hard for me to wonder if there’s an agenda behind “Genesis Avalon.” The pilot episode begins with a prayer to “The Goddess” (to which goddess I’m not sure) and, six episodes in, there have already been numerous direct references to Wicca, and rituals of “The Craft.” The story begins when a young woman finds a mysterious amulet that enables her to become the superhero Avalon, endowed with the powers of the ancient Celtic gods. She invokes these powers by speaking the names of the gods aloud. That in itself wouldn’t bother me so much if the protagonist and other characters didn’t toss the name of Jesus around as if it were a garden variety interjection, a curse, or an insult. I realize that in real life and in fiction, people can and do say the name of Jesus in vain. Regrettably I’ve done it myself on more than a few occasions. However, in a work of fiction, when characters speak the names of pagan gods and receive or invoke great power, and then utter the name of Christ with little or no result, you can’t help wondering if this betrays the author’s bias.

I realize much of what I’ve just said may sound like so much sour grapes because an author has successfully developed a concept similar to mine, while so far I’ve failed miserably to develop my own work. The folks behind “Genesis Avalon” may not have any agenda beyond the desire to tell a good story. Judged purely as an action adventure or a work of audio drama, the show isn’t bad, and it may be possible to take all the New Age, neo-pagan woo-woo with several grains of salt.

Looking critically at my own work, I worried that it too could be construed as promoting a particular theological agenda, which would be the opposite of what I intended and believed, and that’s perhaps one reason that the writing has gone so slowly. I wanted to borrow bits, pieces, and motifs from Celtic mythology and tell cool stories of costumed superheroes slugging it out with evil druids on the streets of Dublin (and other places), not to advocate for a false or fabricated religion. I fretted over this problem with my blog buddy D. G. D. Davidson at Sci-Fi Catholic, and he told me not to worry because, as he astutely pointed out, Christians have been borrowing from pagan mythology to tell stories for centuries.

Will the Celtic League of Superheroes ever be anything more than a vague idea in my head? Should I listen to “Genesis Avalon” or avoid it? I don’t know the answers to either one of those questions. But I’ll let you know when I find the answers.

This Is What Happens When You Can’t Get a Song Out of Your Head . . .

You post a video version from YouTube and start studying Scottish and Irish history.

OK, so I’ve been listening to an audio podcast version of Kidnapped, Robert Louis Stevenson’s tale of high adventure, political intrigue, and skullduggery in the Scottish Highlands during the 18th century. It gets my pride in my Scottish ancestry all stirred up, which means that my pride in my Irish ancestry can’t be far behind (I think I have Scottish, Irish, and Welsh family connections). I go scrambling for Irish and Scottish music videos on YouTube, start listening to lots of music in Gaelic, and start singing the song “Oro sé do bheatha bhaille” almost compulsively. The song was originally sung by Irish Jacobites, or supporters of Bonny Prince Charlie” Stuart during the 1745 uprising (“The Bold ’45”), an attempt to restore the House of Stuart to the English throne. It didn’t work out. The events of the Bold ’45 take place just a few years before Kidnapped begins.

Later, the Irish nationalist poet Padraig Pearse rewrote the words to the song to refer to Grace O’ Malley, (also known in Irish as Granuaile) an Irish noblewoman who took up a life of seafaring and piracy to protest the English domination of Ireland. When her relatives were captured by the English, Granuaile went to London to meet with Queen Elizabeth I to negotiate for their release. According to legend, during the meeting, Granuaile sneezed, and the queen offered her a handkerchief. Granuaile took the handkerchief, used it, and threw it into the fireplace, explaining that a used handkerchief was dirty and should be thrown away. According to the social customs of the time, disposing of the handkerchief would have been a calculated insult to the queen, a symbol of defiance. The queen must have been impressed with Granuaile’s pluck, however, because she granted her request, and Grace O’ Malley became a national hero, a symbol of Irish pride and refusal to knuckle under to the English. The song was used as a rallying cry by the IRA during Ireland’s war of independence and has been recorded by many Irish singers and musicians, ranging from The Clancy Brothers to Sinead O’Connor. This version is sung by Paul Brady, and the accompanying animation tells the life and legend of Granuaile. You’ll notice the melody is very similar to “What Shall We Do With a Drunken Sailor?” and I defy you to get it out of your head once you’ve heard it. This video was broadcast on Irish television’s all-Gaelic channel, TG4.