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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.

Heron

Their footsteps were leaden as soon as they set out. Benda made for what should have been the Great Road to the Temple Mount, but it was simply not there. It had either been removed, hidden, or simply never built, depending on where – and when – they truly were.

Tob Gobble, back to feeling fine, was filled with his characteristic mirth, and proceeded to while away the time repeating jokes and tales he had heard round the campfire the evening before amidst the men-at-arms.

“They’re really fine fellows, at the root of it,” he said, to no one in particular.

Benda responded absently, “I’m sure.”

They stayed within sight of the water, partly under the knowledge that the Great Road should have laid alongside it as it rose up amidst the hills, cliffs, and to the Temple Mount itself. They did it partly also out of simple fear of being lost if they ventured too far from the sight of it, with only those small dread mountains in the distance as reference.

The passage of time was interminable, or it happened not at all. Benda could not rightly tell.

Eradus, who had been pensive like the others (except Tob), finally put words to it, saying aloud, “What if we never find it? What if there’s nothing and no one there when we arrive?”

Greppo, in whom the madness had been tempered by a growing uncertainty as well, finally added, “What if we never arrive?”

“Ooh, this reminds me of a very famous tale from a country I once had occasion to visit,” started Tob Gobble.

Benda cut him short, “We’ll find it. I can see it with my heart as plainly as I can see any of you with my earthly eyes…” He trailed off.

Perhaps it was Benda now the madness gripped. He considered the possibility.

High above them, an eagle cried, and circled. When they waved to it in recognition, it flew off in another direction – decidedly away from the water.

“He wants us to follow,” Greppo said soberly.

“Know who you follow,” Eradus replied.

“Have we another choice?” said Greppo. They both looked at Benda searchingly. “It seems we’ve made no progress since setting out. Why, I have the sensation that the village still lies just behind us over but one or two low hills.”

“Or that the village too is now as lost as we are,” intoned Tob, who was suddenly spooky, running a chill through Benda.

“Come then,” said Benda. “If the High Augur reads the flight of birds, so shall we.”

At this time, the eagle who was Murta flew back to them, in slow flapping agreement, and then flew off again in the direction he had earlier indicated that they should follow.

As they walked, they began to notice an eerie effect in the landscape. Walking towards them now, the mountains seemed instead to recede from view. It was as if the great plain which was turning to desert was expanding as they traversed it. They turned to look toward the sea, thinking it too would be vanished, but it seemed ever within reach, just over the next hill behind them, or the next.

“Most peculiar,” said Tob. “Most peculiar, indeed!”

“Perhaps this calls for a poem,” he said, twirling about, and gesticulating with his rootlets. “Something… extemporaneous,” he said bowing low with a flourish before them, before anyone had time to protest.

“Gentlemen, I give you: Invocation at the End of the World.

“Ahem,”

Dweller in the lost direction,
lead us beneath shaded paths,

under your protection.
Keepers of song and silence,
we ask you unveil now your vision,
and our place in it.

Send us costumes that fit,
provide for the audience a nice place to sit,
something to drink,
and a nice time to think back upon someday
when our bones (or our roots) are old round the fire.

Before the end of the world,
we speak this our desire.
We invoke thee!
Show thyself!”

For a moment, the world wavered, but nothing happened. So Tob whipped out his reed flute, and began to toot on it incessantly. The sound was so annoying that they all plugged their ears, and asked him loudly to stop. He did finally, and they all broke down laughing.

When they had somewhat recovered, they saw that Murta had appeared once more over the horizon, and was now flapping his great wings to hover over a particular spot out in the desert. A formation of rocks, an oasis.

“Your incantation worked,” said Greppo. “Let’s go.”

Invocation,” corrected Tob, as though he were teaching a small child. “I would be delighted to demonstrate the difference in style between the two genres, if you’d like.”

“Perhaps another time, Tob,” said Eradus, “Look, we’re halfway there.”

“More than halfway,” said Benda. “We’ve only taken a few steps, but we’re almost there.”

So it was that they arrived suddenly upon a natural rock formation, which had been hewn here and there expertly by the hands of man, and upon which a slab of stone had been laid like a roof. The area around the house, for such it did appear, was rich with verdant grasses, and an unusual kind of shrub none of them could identify. A small stream flowed out from under the roof, which they turned the corner and saw the source of, a natural well. Small wonder this place had been covered and protected, and could nourish plants amidst a hard barren landscape all about.

At first, they saw the cavern within as empty, but as their eyes adjusted to the long shadows of the cave, they recognized a man there in a cloak, sitting on his haunches, staring at them, almost as if unseeing.

“Hello,” waved Benda. The figure did not move, so he added, “Sorry to intrude. We are… ah, lost.”

After a few moments, the figure replied absently, “Lost…”

“Are you lost too?” asked Eradus.

The figure turned then, and regarded Eradus. His eyes began to focus, it seemed, on the here and now.

“Lost too…” he said.

He took a sharp breath then, closed his eyes, and nearly fell backwards, but caught himself. He stood up fully.

“Forgive me,” he said. “I took you for phantoms from another time and another place.”

“Erm,” said Tob.

Greppo eyed him sharply, “The important thing,” he cut in, “is that we’re here now.”

“Yes,” the man said, and strode towards them. He reached out to shake the hand of Greppo in ritual greeting. “I am called Elum.”

Greppo took his hand, and said in return. “And I am called Consciolus Greppo, King of the Citadel, and First King of Kremel.”

He presented himself then to Eradus, who, before introducing himself in return inquired, “Elum, like the village?”

“Village?” Elum replied. “I hail from the forest villages, a long, long way from here.”

“Not like the village,” said Benda, who then introduced himself to Elum, and embraced him excitedly, like a long lost brother. “Like the legend,” he said. “The Dark Dance Cycle! Sad Elum, who sat in his cave, beside the small stream, which flowed out of the deep cleft, pining for his lost love, Sweet Delrin.”

“How come you to know my life, and my love?” Elum looked shocked, but felt a kind of recognition dawning on him too. “Have we met?”

They went out of the cave then, and looked down the path of the small stream, as it wound its way down the hills towards the sea, and what had been – or perhaps one day would be – the village of Elum, by the Bay of Erasure (or the Bay of Pleasure depending who you asked, or when). And they saw in the distance the ramshackle huts, and men-at-arms like ants at work enlarging the pier there.

“Maybe we have,” said Benda. “Or maybe we yet will. A man greeted me once here on the beach, wearing the cloak and insignia of his Order.”

“His Order?” asked Elum, looking out at the world.

“The House of Silence,” said Benda.

“Silence… yes,” said Elum, a flicker of memory stirring.

“But the houses are broken, and thrown down now. Haven’t you heard?”

“No,” said Greppo. “We are only travelers to this place. Pray tell us what news you’ve heard…”

“Not new,” Elum stammered, trying to remember. “Old, very, very old. A river–” he exclaimed, and then stopped.

“A river that… flows upstream,” he said looking at each of the others for some sign of recognition.

Then he closed his eyes and said, “The Hypogeum was opened, and the river of time which once flowed out of it was set to flowing back upstream. There… isn’t much time left. I must complete my task.”

“We saw her,” said Benda. “When we arrived in this place, where the towers Jyagar and Raggath should be.”

“Saw who?” said Elum, confused.

“Heron,” he said. “Delrin.”

“Oh, I have seen her too,” he said. “She comes to me, even now.”

“Then your task is nigh complete,” said Benda.

“Not yet,” said Elum, who went off alone around the side of the stone dwelling. He bent down, and pulled off some branches of the peculiar shrub which grew there.

He returned and said, “I was set here on this vigil by the Powers to wait for the return of another.”

“Another?” said Tob.

“The New King,” he said. “And to give him this gift.”

“I am the King you speak of,” replied Greppo, “but its just a plant.”

Elum then, laughed boisterously. When he recovered himself, he said to Greppo, “It is no more ‘just a plant’ then are you the New King.”

Greppo frowned, but said nothing.

Elum stepped next to examine Eradus’ face carefully.

“The New King is a mindspeaker,” said Elum on the channels of light, looking at him. Eradus did not hear him, but Benda did.

Benda replied on those same lightways, “I am no king. I deserve not that honor. I’m just a man, like any other.”

“Then that will have to be enough,” said Elum out loud. He went over to Benda, took his hands, and into them placed the branches of the herb axla, which he had recovered from beneath the Weeping Waters, when Delrin had fallen from the Great Bridge into the Cave of Unnaming.

“The houses are broken,” Elum repeated. “Quatria is retreating into the Hypogeum, like a flower fading after its season, drawing the life back into itself. There is only one True House, the House of Life, and unto you is given its care for this generation, and for those to come. Take these branches, and go and plant them on the island of Ovarion. The place that was prepared for you is waiting. Linger no longer in this dying world. Go, and plant the new one.”

Benda took the branches, and wiped the tears from his eyes, and when he looked again, the cloak had fallen from Elum’s shoulders, and in its place, a great white bird with a long crooked neck stretched out its wings, and flew off toward the sea to meet its mate.

The Sacred Melodeon (Shape Note Singing, Music)

Out of the secular sources Warren cited, two are available online. One is Amos Sutton Hayden’s The Sacred Melodeon (1849). In fact I came across this one some time ago and downloaded it then. As Warren explains, Hayden was a Disciples preacher who had this idea that if you invoke God (“the Author of his being” and “the Most High” as Hayden says) while you’re learning to sing, you’re taking “his sacred name in vain” because you don’t know how to sing the song right yet when you’re just learning it. Or something like that. So this collection, and another of Hayden’s tunebooks called Introduction to Sacred Music, despite the word “sacred” in the titles, usually avoided saying “God” and “Jesus” outright. A lot of the songs are ones familiar to Sacred Harp and Christian Harmony singers, which too use a lot of language like “Author” and “the Most High,” but Hayden did so even more. So, for example, where “Exhortation (First)” in The Sacred Harp says “Up to the hills where Christ is gone To plead for all His saints,” the same song in The Sacred Melodeon goes “The world, at each returning day, Awakes again to light.”

Source: The Shape-Note Notebook: Secular Music in Shape Notes, by David Warren Steel

* The Sacred Melodeon full book scan on Archive.org.

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