Tim Boucher

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The Dweller to Enter The Palace (Wormwood, mythology)

Since this time, however, Ovarion had sat empty, as following the taboo after additive modifications are made to the landscape by the Changer. As the songs taught: On grounds newly laid, one must wait for the Dweller to enter the Palace. This dictum served a both potentiating mystical reflection on intent and purpose and an utterly practical use: in case the Changer should reappear and happen to change his mind, and reclaim what had been called forth. The songs told it had happened before, but not in recent living memory.

Source: The Coming of Ovarion – Quatrian Folkways – Medium

Vedic chanting (Hindu religion, history)

“The four Vedas (Rig, Yajur, Sama and Atharva) are not ‘books’ in the usual sense, though within the past hundred years each veda has appeared in several printed editions. They are comprised rather of tonally accented verses and hypnotic, abstruse melodies whose proper realizations demand oral instead of visual transmission. They are robbed of their essence when transferred to paper, for without the human element the innumerable nuances and fine intonations – inseparable and necessary components of all four compilations – are lost completely. The ultimate authority in Vedic matters is never the printed page but rather the few members … who are today keeping the centuries-old traditions alive.”[2]

Source: Vedic chant – Wikipedia

Eye of Balor (Irish Myth)

Balor is described as a giant with an eye which wreaks destruction when opened. The Cath Maige Tuired calls it a destructive and poisonous eye that when opened, permits an entire army to be overwhelmed by a few warriors[4]. It was said that four warriors had to lift the eyelid, which became poisonous after Balor looked into a potion being concocted by his father’s druids. Later folklore says that he has only one eye and describes it as follows: “He had a single eye in his forehead, a venomous fiery eye. There were always seven coverings over this eye. One by one Balar removed the coverings. 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!”.[2]

Source: Balor – Wikipedia

Luchtaine the Carpenter (Irish myth)

In Irish mythology, Luchtaine (or Luchta) was a son of Brigid and Tuireann and the carpenter or wright of the Tuatha Dé Danann; elsewhere he is described as the son of Luachaid[1]. He and his brothers Creidhne and Goibniu were known as the Trí Dée Dána, the three gods of art, who forged the weapons which the Tuatha Dé used to battle the Fomorians. Specifically Luchtaine agrees to make all the shields and javelin shafts required for The Second Battle of Moytura.[2]

Source: Luchtaine – Wikipedia

Carmen Saeculare (Roman hymn)

The hymn was sung by a chorus of twenty-seven maidens and the same number of youths on the occasion of the Ludi Saeculares (Secular Games), which celebrated the end of one saeculum (typically 110 years in length) and the beginning of another. The mythological and religious song is in the form of a prayer addressed to Apollo and Diana; it especially brings to prominence Apollo, functioning as a surrogate for and patron of the princeps (Augustus), for whom a new temple on the Palatine had recently been consecrated.

Source: Carmen Saeculare – Wikipedia

Secular hymn (Musicology)

“Hallelujah” (which was written by Leonard Cohen in 1984, but only became famous when John Cale covered it in 1991) has since been called perhaps the quintessential secular hymn[1][2] despite the lyrics containing strong Jewish themes[3].

Other songs that are sometimes mentioned as secular hymns include “Many Rivers to Cross” by Jimmy Cliff, “I Can See Clearly Now” by Johnny Nash, “Joy to the World” by Three Dog Night, “Hey, Jude” by the Beatles, “Big Yellow Taxi” by Joni Mitchell, “No Woman, No Cry” by Bob Marley, “Going My Way” by Bing Crosby, “Blowin in the Wind” by Bob Dylan, “Like a Prayer” by Madonna, “Both Sides Now” by Joni Mitchell (famously covered by Judy Collins), “Show Me Heaven” by Maria McKee, “Lean On Me” by Bill Withers, “Stand by Me” by Ben E. King, “You Can Close Your Eyes” by James Taylor, “Somewhere Over the Rainbow” by Judy Garland, “Imagine” by John Lennon, “Free Fallin'” by Tom Petty, “What a Wonderful World” by Louis Armstrong, and “Million Reasons” by Lady Gaga, and many others.[1][4]

Source: Secular hymn (genre) – Wikipedia

Peddler (European history)

Peddlers have been known since antiquity and possibly earlier. They were known by a variety of names throughout the ages, including Arabber, hawker, costermonger (English), chapman (medieval English), huckster, itinerant vendor or street vendor. According to marketing historian, Eric Shaw, the peddler is “perhaps the only substantiated type of retail marketing practice that evolved from Neolithic times to the present.”[3] The political philosopher, John Stuart Mill wrote that “even before the resources of society permitted the establishment of shops, the supply of [consumer] wants fell universally into the hands of itinerant dealers, the pedlars who might appear once a month, being preferred to the fair, which only returned once a year.”[4]

Typically, peddlers operated door-to-door, plied the streets or stationed themselves at the fringes of formal trade venues such as open air markets or fairs. In the Greco-Roman world, open-air markets served urban customers, while peddlers filled in the gaps in distribution by selling to rural or geographically distant customers.[5]

Source: Peddler – Wikipedia

Roud Folk Song Index (Musicology)

The Roud Folk Song Index is a database of around 250,000[1] references to nearly 25,000 songs collected from oral tradition in the English language from all over the world. It is compiled by Steve Roud, a former librarian in the London Borough of Croydon.[2] Roud’s Index is a combination of the Broadside Index (printed sources before 1900) and a “field-recording index” compiled by Roud. It subsumes all the previous printed sources known to Francis James Child (the Child Ballads) and includes recordings from 1900 to 1975. […]

The primary function of the Roud Folk Song Index is as a research aid correlating versions of traditional English-language folk song lyrics independently documented over past centuries by many different collectors across (especially) the UK and North America. It is possible by searching the database, for example by title, by first line(s), or subject matter (or a combination of any of a dozen fields) to locate each of the often numerous variants of a particular song. […]

He began it in around 1970 as a personal project, listing the source singer (if known), their locality, the date of noting the song, the publisher (book or recorded source), plus other fields, and crucially assigning a number to each song, including all variants (now known as the “Roud number”) to overcome the problem of songs in which even the titles were not consistent across versions. The system initially used 3×5-inch filing cards in shoeboxes.[5]

Source: Roud Folk Song Index – Wikipedia

Argo (Ship, Greek mythology)

Argo was constructed by the shipwright Argus, and its crew were specially protected by the goddess Hera. The best source for the myth is the Argonautica by Apollonius Rhodius. According to a variety of sources of the legend, Argo was said to have been planned or constructed with the help of Athena. According to certain sources, Argo was the first ship to sail the seas. It was Athena who taught Tiphys to attach the sails to the mast, as he was the steersman and would need an absolute knowledge of the workings of the ship.[3] According to other legends, she contained in her prow a magical piece of timber from the sacred forest of Dodona, which could speak and render prophecies.

Source: Argo – Wikipedia

Epilogue

They left that place and returned to camp in the village which had been – or perhaps one day would be still in another age – the village called Elum, after its legendary founder. The decision was made to strike camp at once, and abandon the works which had been undertaken by the men-at-arms.

When they tried to look back to where the stone dwelling had been, they saw only empty desert. It had presumably been swallowed back up into the Hypogeum, along with the mountains, and apparently nearly everything else in this enchanted land.

Greppo ordered the two boats to be prepared. The one which was in better shape was to be for those who would make the return voyage to Kremel, perhaps to one day return again to explore these shores when the tumult of the Changes had subsided (if ever it would, or if in fact anything remained). The other was for those who would go on the shorter voyage with Benda, to settle the island of Ovarion, promised by the High Augur and by Elum to the New King. Benda shirked this title whenever he heard it, but it stuck with the others, and they continued to call him it in both jest and in respect for what they’d seen of the man.

In the end, Benda’s raisla went with him. This included, of course, his wife and son, Lualla, and Sol, his friend Ofend, the inestimable Tob Gobble, and – to Benda’s delight and surpise – both Eradus and Machef. Despite Benda’s protests that they should return to their lands, families, and responsibilities, they insisted. Benda could not bring himself to object for over-long, and acquiesced. They promised the arrangement would be only temporary – to help him build the dream of Tantathawe. And they agreed with those others who would return to Kremel – Greppo, Mergolech, and Martis Ovnis – that they would endeavor to keep open the Way, and to rejoin these new lands together again as in the friendship of the old.

Eradus indicated his desire for his brother to continue ruling Devera in his stead, as he had been since Eradus had set out on this adventure with Benda some months ago now. Murta did not return, and was presumed lost. Martis Ovnis, his neighbor to the north, already had designs on his kingdom. In actuality, unknown to them, he had found a way into the Hypogeum.

For the second and final time, Benda bade farewell on the docks of this village. But this time, he was headed to his true home, he felt, though it were a place he’d never been before. The island of Ovarion. With him went twenty men-at-arm and rowers of Kremel. And together the two ships, avoiding the inward flowing current, rowed out of the Bay of Erasure.

Passing where should have stood the towers of Jyagar and Raggath, they turned back from the decks of their ships, and saw nothing. Not empty ocean, or blank hills and deserts, but true and barren nothing. They bid one another adieu, and Greppo’s ship hoisted sail on its newly restored mast, and set out past Gilla. This outward lying island, for whatever reason, did not move, shrink, or disappear. For good reason, as it’s name in the Quatrian language meant anchor. And such it would remain in the ages to come, acting as a waypoint between Kremel, Tetharys, and Ovarion.

Benda’s ship meanwhile, lacking the luxury of intact masts of sails, went under oar carefully skirting the wall of nothing toward the west in the direction of Ovarion, as what remained of Quatria folded up into itself, and vanished back into the Hypogeum.

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