#just like the ancient celts

[tearlessrain]

observation of neopaganism has taught me that you can claim the ancient celts did basically anything and legitimize whatever traditions you want. now I'm going to go make some solstice french toast. just like the ancient celts.

[bijoumikhawal]

saw a version of song of songs that translated 5:14 as the male lover having a womb inlaid with lapis and I know it's known for being horny but that's burned into my head now.

[rhysintherain]

The thing about people like this (aside from their desperate love of ahistorical narratives, of course) is that they believe there's only ever been one civilisation, and it belongs to them. Everyone else is just copying it, badly, or doesn't really count.

They also don't believe in positive or neutral change. There's just The Way Things Should Be (the way their ancestors or their god made it, depending on the individual) and The Inevitable Cultural Decay caused by anyone they don't agree with.

In this cardboard cutout narrative, they need the legacy of history but they can't comprehend that morals shift over centuries, cultures over decades, and borders and identities in as little as years.

They need a story that doesn't change to prop up a worldview that very much doesn't work with reality, past or present.

This is how you get people insisting that Greece was inhabited by god-fearing christians 3,000 years ago. Or that everyone in the Roman Empire was straight. Or that Vikings were protestant.

They'd fall down dead if they knew how many of our ancestors had to be forced to convert to christianity, how many of them came from Africa and the middle East in the last few hundred years, or what they actually believed was moral and right.

It's a view of the past that doesn't stand up to even the most cursory scrutiny, which is why they're so defensive about it.

The idea of "western civilisation" as some sort of a homogenous monolith is definitely just a white supremacist dogwhistle, but the way these people talk about it makes it sound downright funny. This Unified White Culture that started in Ancient Greece and practices a religion that was born in the Southern Levant when a small doomsday cult escaped containment, and then there were vikings and shit and these are all just one unified People and Culture, despite of me having more mutual DNA with a neanderthal than a spaniard. Probably more mutual culture, too.

And then this spectacular glorious monolith empire is as fragile as a victorian orphan dying of tuberculosis. Must be protected from the slightest draft from any direction, at all costs, because unlike the cultures of countless diasporic peoples, the mighty Western Civilisation will die if it is not at least a 90% majority at all times. Every three minutes there's something new that is the harbinger of societal collapse, the beginning of the end, some sort of a slow-motion apocalypse caused by people saying stuff and doing things, and wearing clothes you don't like.

"Sure you're laughing now but where will you be when the barbarians are at the gates?" I'll be at the gates, obviously. The faggots are coming and we have a trebuchet.

[eynsavalow]

Like I can't recommend a lot of the Golon Globus ouvre as great cinema in terms of traditional metrics. But like some of this shit really deserves to be seen because it is so unique onto itself I genuinely can't think of anything to compare it too

[novaursa]

The Last Dragonslayer (2/2)

- Summary: The conclusion of a journey, for you, one of the many.

- Pairing: female!reader/Rhaenyra Targaryen

- Note: For more of my works, visit my blog. The list is pinned to the top.

- Rating: Explicit 18+

- Word count: 7 000+

- Previous part: 1

- Bonus part: 3

- Tag(s): @sachaa-ff

The council chamber is cold, the stone walls adorned with banners of House Targaryen, their crimson and black fabric swaying lightly in the draft. The weight of history presses down upon you, the ancient stones whispering secrets of kings and conquerors. You stand at the edge of the chamber, watching Rhaenyra from beneath the hood of your cloak. The lords seated around the table glance at you uneasily, their gazes lingering too long, discomfort plain in their eyes. You are a foreigner, an anomaly, a reminder of tales and nightmares they would rather forget.

Rhaenyra, the Queen, sits at the head of the table, her presence commanding even as shadows darken the skin beneath her eyes. She’s been restless since Daemon left for Harrenhal, pacing the halls of Dragonstone like a caged beast. Now, she listens as her advisors bicker, her expression tight, her gaze distant. They speak of the war, of the blood that’s already been spilled, and the blood that will flow if they do not act.

Alfred Broome, his voice tinged with frustration, slams his fist on the table. “We cannot continue to sit idle, Your Grace. The Greens gain more ground with each passing day! Aemond’s attack on Storm’s End—”

“—was an act of war,” interrupts Lord Celtigar, his tone measured but firm. “They have already crossed the line.”

“And yet we remain here, waiting!” Broome snaps, glaring at the others. “Waiting for what? A miracle? A sign from the gods? Aemond tried to kill Prince Lucerys, and still, we do nothing.”

You watch as Rhaenyra’s knuckles whiten, her fingers digging into the arms of her chair. Her grief is palpable, a dark cloud that has yet to lift since news of Lucerys’ narrow escape reached her. But she remains silent, her eyes flickering with a storm of emotions she refuses to let loose before these men.

It’s then that you decide to speak, your voice low, cutting through the tension like a blade. “Action without strategy is a fool’s errand, Lord Broome. Perhaps you are eager to throw away lives in a show of haste, but the Queen’s duty is to her people, not to your impatience.”

The lords turn to you, their eyes narrowing, some in suspicion, others in outright disdain. You meet their stares unflinchingly, the cold fire of your homeland reflected in your gaze. Your hand rests on the hilt of your sword—a sword older than any of them, a relic of a time when the world was shaped by fire and blood, but not by dragons alone.

Broome sneers, his lip curling. “And what would a foreigner know of our wars? Of our dragons?”

More than you could ever understand, you think, but do not say aloud. Instead, you take a step forward, the shadow of your Banshee—your mount, your companion, and your weapon—seeming to loom behind you, though it remains far from these walls. The lords shift uncomfortably as if sensing its presence. They fear it, as they should.

“I know,” you say, your voice steady, “that Aemond did more than just attack Storm’s End. He was driven away. Chased off by something he did not expect, and that something was me. You may not trust my motives, but understand this: I have chosen to stand with the Queen, to see balance preserved in Westeros. You would do well to heed her wisdom and not let your fear cloud your judgment.”

Rhaenyra’s eyes meet yours across the table, and for a moment, the storm within her clears. There is gratitude there, and something else—something that has lingered between you since the night you arrived at Dragonstone, the night you saved her son. The pull between you is undeniable, a silent promise that neither of you has yet dared to speak aloud. But in her gaze, you see it as clearly as the flames of a dragon’s breath.

Lord Celtigar clears his throat, cutting through the tension. “The Lady Y/N speaks true. We cannot act rashly. The Greens expect us to strike without thought. We must outmaneuver them, not merely meet them on the field of battle.”

The room falls silent, the lords exchanging glances. Broome’s scowl deepens, but he holds his tongue, his eyes flickering to Rhaenyra, who now seems more resolute.

Rhaenyra straightens in her seat, the weight of the crown evident on her shoulders but her voice strong. “We will act, but we will act wisely. The Greens will not find us easy prey. We will not fall into their traps, nor will we be goaded into hasty decisions. Lord Celtigar, begin preparations for the fleet. We’ll strike where they least expect it. And Lord Broome,” she adds, her gaze hardening, “you will ensure that our forces are ready when the time comes.”

Broome stiffens but nods, his anger barely concealed. “As you command, Your Grace.”

The council continues, the lords discussing strategy, but your attention drifts to Rhaenyra. The tension in her shoulders has eased slightly, but the burden she carries is still heavy. You find yourself stepping closer, a silent offering of support that she acknowledges with a slight nod, a flicker of something warm in her eyes as she turns back to the map spread out before her.

Later, when the council disperses, and the lords retreat to their chambers, you linger. The chamber is quiet now, the echo of the lords' voices fading into the stone. Rhaenyra stands by the hearth, staring into the flames, her thoughts far away. You approach her, the weight of your sword still at your side, a constant reminder of who you are and what you represent.

“You were right to keep a level head,” you say softly, your voice breaking the silence. “They do not understand the full scope of what we face.”

She turns to you, the firelight casting her features in a warm glow. For a moment, she looks younger, almost fragile, but then her eyes meet yours, and the steel within her is evident once more. “It is difficult,” she admits, her voice barely above a whisper. “To know when to strike, and when to hold back. But with Daemon gone, I must be even more cautious. I cannot afford to lose another child… or more allies.”

“You won’t,” you reply, your voice firm. “Not while I’m here.”

A small, wry smile tugs at her lips. “I am grateful for that, Y/N. More than you know.”

The air between you shifts, charged with the unspoken words that neither of you dare to voice, not here, not now. But the promise remains, woven into the fabric of your alliance, and something deeper, something personal.

You reach out, your hand brushing against hers—a fleeting touch that sends a jolt through you both. Rhaenyra doesn’t pull away, her fingers curling slightly, as if to hold onto the warmth you offer. For a brief moment, the weight of the crown, the war, the bloodshed all fades, leaving just the two of you standing by the fire, bound by something stronger than duty.

“Stay with me,” she murmurs, her voice soft, vulnerable in a way you’ve never heard before. “Just a little longer.”

You nod, your hand gently clasping hers, the two of you standing side by side as the fire crackles softly in the hearth, the flames a quiet witness to the bond growing between you.

The wind howls through the trees, rustling the leaves and sending a shiver down your spine. The forest is dense, the shadows long as dusk begins to settle over the land. You stand alone in a clearing, your cloak billowing around you like a dark shadow, the hilt of your ancient sword gleaming faintly in the dim light. The ground beneath your feet is soft, the earth freshly disturbed by the recent passage of men and horses—Ser Criston Cole’s forces, on their way to seize Duskendale for the Greens.

The quiet of the forest is broken by the distant sound of hooves, growing louder with each passing moment. You remain still, your gaze fixed on the treeline as they emerge—riders clad in armor, their banners snapping in the wind. At their head rides Ser Criston Cole himself, his face set in a stern mask, followed closely by Ser Gwayne Hightower and several dozen men-at-arms. They slow as they approach, their horses snorting and stamping as they take in your solitary figure.

The men spread out in a semicircle, surrounding you, their weapons at the ready. Ser Criston rides closer, his eyes narrowing as he takes in your appearance. The tales of your deeds have reached his ears, no doubt—whispers of a foreigner with an ancient sword, a beast that haunts the skies, and the power to make even dragons flee. But it’s clear he does not yet understand the full measure of what stands before him.

“Who are you to stand in our path?” Criston’s voice is hard, commanding, as if the answer to his question will determine whether you live or die.

You don’t flinch under his scrutiny, your voice calm as you reply, “I am Y/N. I have come to give you a chance, Ser Criston. Turn back now, and you may yet live to see another day.”

A murmur ripples through the men, some of them exchanging uneasy glances. They’ve heard the tales too, and the sight of you standing alone, unafraid, seems to unsettle them. But Criston is unmoved, his expression hardening as he spurs his horse closer, his hand resting on the pommel of his sword.

“You expect me to turn tail at the sight of a woman?” He sneers, his tone dripping with disdain. “You may have frightened Aemond, but I am no craven boy. I am the Lord Commander of the Kingsguard, sworn to protect the true king. Step aside, or I will cut you down where you stand.”

His men shift in their saddles, emboldened by their commander’s bravado. Ser Gwayne smirks, drawing his sword, the blade catching the dying light of the sun. “It would be wise to heed the Commander’s words, foreigner. You are far from home and outnumbered.”

You remain still, your expression unreadable, the forest around you eerily silent. The air grows colder, the breeze carrying the scent of earth and leaves. You speak again, your voice carrying an edge of steel. “This is your final warning, Ser Criston. I am not here to play games, nor am I here to waste lives. Turn back, or face the consequences.”

Criston’s eyes narrow, his patience clearly worn thin. He raises his sword, the motion sharp and decisive. “Enough of this. Men, bring me her head.”

The order is given, and the men begin to close in around you, their horses snorting, the sound of metal clinking as they draw their weapons. You don’t move, your hand resting lightly on the hilt of your sword, the weight of it familiar and comforting.

As the first rider approaches, sword raised high, you draw your blade with a fluid motion, the ancient steel singing as it cuts through the air. The rider barely has time to react before your sword meets his, the force of the blow sending a shockwave up his arm. His eyes widen in surprise, and in that moment of hesitation, you twist your blade, disarming him with a swift, practiced movement.

He falls from his horse with a cry, his weapon clattering to the ground. The other men hesitate, clearly not expecting such a swift and effortless display. But Criston’s voice rings out, cold and commanding. “Press the attack! She’s but one woman!”

But you are not just one woman. You are Y/N, the last of the Dragonslayers. And this is not your first battle.They charge at you, swords flashing in the dim light, but you are ready. Your movements are a blur, each strike precise, each parry executed with lethal grace. One by one, the riders fall, unhorsed by the skill of your blade or the sheer power behind your strikes. The clearing becomes a battlefield, the air filled with the clash of steel and the cries of men.

In the chaos, you catch sight of Ser Gwayne, his face twisted in anger as he drives his horse towards you. You meet his charge head-on, your swords clashing with a force that reverberates through your arms. He grits his teeth, pushing against you with all his strength, but you hold firm, the ancient power of your blade surging through you.

“You should have listened,” you say, your voice low, as you twist your sword, breaking his stance and sending him reeling. He barely manages to stay in the saddle, his eyes wide with shock as he realizes just how outmatched he is.

“You’re a demon!” he spits, his voice trembling as he regains his balance, but the fear is evident in his eyes.

“No,” you reply, your voice cold, “I am justice.”

With a final, powerful strike, you knock him from his horse, sending him crashing to the ground. He groans, trying to rise, but you place the tip of your sword against his throat, pinning him in place. The other men halt, unsure whether to continue their attack or flee.

Ser Criston watches the scene unfold, his face a mask of fury and disbelief. He dismounts, striding towards you, his sword at the ready. “You think you can best me?” he snarls, raising his weapon.

You turn to face him, your blade still poised at Gwayne’s throat. “I don’t think, Ser Criston. I know.”

Criston lunges at you, his strikes fast and furious, but you are faster. Your swords clash, the sound ringing through the clearing like a bell. He fights with the ferocity of a man with everything to lose, but you match him blow for blow, your movements fluid, almost effortless. He’s strong, but strength alone is not enough.

The battle drags on, but with each passing moment, Criston’s strikes become more desperate, more reckless. He overextends on a particularly vicious swing, and you seize the opportunity. You parry his strike, stepping inside his guard and slashing across his chest. He stumbles back, blood blooming across his white cloak, staining it red.

He grits his teeth, refusing to fall, but the wound has taken its toll. You don’t give him a chance to recover, pressing the attack with a series of swift, precise strikes. He barely manages to parry, each blow pushing him further back until he’s on the defensive, his movements slowing.

Finally, with a powerful upward swing, you knock his sword from his hand, sending it flying across the clearing. He falls to his knees, clutching his bleeding chest, his face pale, eyes wide with disbelief.

You stand over him, your sword raised, its tip pointed at his throat. “I warned you,” you say softly, your voice carrying the weight of inevitability.

Criston glares up at you, defiance still burning in his eyes, but there is also fear—fear of the unknown, of the force that now stands over him. “Kill me, then,” he spits. “But know this: you will never defeat one true king, Aegon.”

You lower your sword slightly, considering him for a moment. “I do not need to defeat your king, Ser Criston. I only need to preserve the balance.”

With that, you withdraw your sword, stepping back. Criston’s eyes widen in surprise, but you give him no time to react. You whistle sharply, and from the shadows of the forest, your Banshee emerges, its massive form blotting out the last of the daylight. The men around you recoil in terror as the creature lets out a bone-chilling shriek, the sound reverberating through the clearing like the cry of a thousand tortured souls.

Criston stares up at the creature, his face drained of all color, and for the first time, you see true fear in his eyes.

“Tell your king,” you say, your voice calm but carrying an unmistakable edge, “that Duskendale is under my protection. And the next time we meet, I will not be so merciful.”

With that, you turn and mount your Banshee, the creature’s wings unfurling as it prepares to take flight. The men watch in stunned silence as you ascend into the sky, the wind whipping around you as your mount carries you away from the clearing and into the night.

Below, the soldiers of the Greens stand frozen, their leader humbled, their will to fight shattered. The tale of what happened in that clearing will spread, carried on the winds of fear, and it will be known that the last of the Dragonslayers walks the earth once more.

The great hall of Dragonstone is quiet as you enter, the flickering torchlight casting long shadows on the walls. The air is thick with the scent of salt and smoke, the sea and the dragon forges mingling to create an atmosphere that is both heavy and foreboding. Rhaenyra and her council are gathered around the massive oak table at the center of the chamber, the map of Westeros spread out before them. Their faces are drawn, tense with the weight of decisions yet to be made.

You stride forward, the sound of your boots on the stone floor echoing through the chamber. The lords and advisors turn to you, their expressions a mixture of curiosity and apprehension. You are a mystery to most of them, a shadow in the midst of their struggles, but your presence commands attention.

Rhaenyra looks up from the map, her violet eyes locking onto yours. There is a quiet strength in her gaze, tempered by the grief and burdens she carries. She nods to you, her silent signal for you to speak.

“The Greens will no longer trouble themselves with coastal points, Your Grace,” you begin, your voice steady and clear. “I intercepted Ser Criston Cole’s forces before they could reach Duskendale. They were forced to retreat, and word will spread of their defeat. They will not dare to strike at our shores again, not while I stand with you.”

Murmurs ripple through the council, some lords exchanging glances of relief, others still wary of the enigmatic figure before them. But Rhaenyra’s expression is one of satisfaction, a glimmer of approval in her eyes.

“Well done, Lady Y/N,” she says, her voice carrying the authority of a queen. “You have once again proven your value to our cause.”

You incline your head slightly, acknowledging her words. “It is my duty, Your Grace.”

The council continues for a while longer, discussions of strategy and the next moves in the war filling the chamber. But you notice that Rhaenyra’s attention drifts back to you frequently, her gaze lingering as if she has something more on her mind. Finally, as the meeting draws to a close, she dismisses her advisors with a wave of her hand.

“Lady Y/N,” she calls, her voice softer now, almost hesitant. “A word, if you will.”

You nod, following her as she leads you from the great hall. The corridors of Dragonstone are dimly lit, the stone walls cold and unyielding. Rhaenyra’s pace is slow, measured, as if she is gathering her thoughts. You walk beside her in silence, the only sound the faint echoes of your footsteps.

She leads you to her chambers, a grand room that still manages to feel intimate despite its size. The air is warm here, a stark contrast to the chill of the hallways. A bath is drawn, the steam rising gently from the water, scented with herbs and oils. It’s clear that Rhaenyra sought this moment of respite, a small comfort amidst the storm of war.

She gestures for you to sit by the fire, where a table is set with a decanter of wine and two goblets. “Please, join me,” she says, her voice soft but carrying a hint of something more—curiosity, perhaps, or even a touch of longing.

You take a seat, watching as she pours the wine, the deep red liquid catching the light of the flames. She hands you a goblet, her fingers brushing yours for the briefest of moments. The touch is fleeting, but it lingers in the air between you, unspoken.

“I wanted to speak with you, Y/N,” she begins, taking a sip of her wine as she settles into a chair opposite you. “I realize I know so little about you, despite all you’ve done for me. You’ve proven yourself a loyal ally, but there is much I would like to understand. Who are you, truly?”

You swirl the wine in your goblet, considering her question. There is so much to tell, more than could be shared in one evening, or even in a lifetime. But you see the sincerity in her eyes, the genuine desire to know you, not just as a warrior, but as a person.

“I have seen much, Your Grace,” you say slowly, your voice carrying the weight of centuries. “More than most could ever dream or fear. I have witnessed the rise and fall of empires, the death of loved ones, the shifting tides of history. From the brilliant Yo Ti Empire to the shadowed lands of Asshai, to the great wonders beyond the western seas… I have wandered this world longer than I care to remember.”

Rhaenyra listens intently, her eyes wide, a shiver running down her spine at your words. But it is not fear that grips her—it is something else, something that makes her heart quicken, her breath catch.

“How old are you?” she asks, her voice barely above a whisper, as if she is almost afraid to hear the answer.

You smile faintly, the lines of your face softening as you look into the flames. “Too old, Your Grace. Old enough to have seen the world change many times over. To be bound to a Banshee is a terrible purpose.”

Rhaenyra sits back in her chair, the goblet forgotten in her hand as she takes in the enormity of your words. For a moment, the weight of your age and experience presses down upon her, making her feel small and fleeting in comparison. But then, she realizes something—despite all you have seen, all you have endured, you are here, by her side, choosing to stand with her in this tumultuous time.

She reaches out, her hand resting lightly on yours, her touch warm, grounding. “And yet you have chosen to fight for me, for Westeros. Why?”

You look at her, truly look at her, and see not just a queen burdened by war, but a woman who has suffered, who has loved and lost, and who is determined to protect what remains. “Because, Your Grace, you fight for balance. For the hope that the world might find peace, that the fire of the dragons might warm rather than burn. That is something worth fighting for.”

Rhaenyra’s eyes soften, her heart touched by your words. She gives your hand a gentle squeeze, her gaze never leaving yours. “Thank you, Y/N. For your honesty, and for your loyalty. It means more to me than I can express.”

The room seems warmer now, the tension of the day melting away as the two of you continue to talk. You share stories of your past, tales of lands and people she can only imagine, and she in turn shares her own hopes and fears, her dreams for her children, for her realm.

As the night deepens, the conversation grows more intimate, the barriers between you falling away. The flickering fire casts a soft glow on Rhaenyra’s face, highlighting the beauty and strength that have drawn you to her from the beginning. And though the specter of war still looms over you both, for this moment, in this room, there is only warmth, only connection.

The wine flows, the stories continue, and as the night wears on, the bond between you and the Black Queen deepens, becoming something more than mere alliance, more than duty.

The night deepens as you and Rhaenyra continue to talk, the warmth between you growing with each passing moment. The wine in your goblets has long since dwindled, but neither of you seems to notice, too absorbed in the quiet intimacy of your conversation. The fire crackles softly, casting flickering shadows across the room, but it is the light in Rhaenyra’s eyes that holds your attention.

As the conversation naturally lulls, a silence falls between you—not an awkward one, but rather filled with unspoken words and lingering glances. You notice how Rhaenyra’s gaze occasionally drifts to your lips, how her breath catches slightly when your hands brush. It is a delicate tension, a quiet yearning that neither of you has fully acknowledged until now.

Finally, Rhaenyra breaks the silence, her voice hushed, almost tentative. “Y/N… there is something I have been wanting to do for some time now.”

You raise an eyebrow, intrigued by the shift in her tone. “And what might that be, Your Grace?”

She doesn’t answer immediately, instead leaning in closer, her eyes locked onto yours. The distance between you shrinks until you can feel the warmth of her breath against your skin, your hearts beating in tandem. Then, without another word, she closes the remaining distance, her lips meeting yours in a kiss that is soft yet filled with a deep, unspoken desire.

The kiss is tentative at first, testing, but as you respond, it deepens, becoming more urgent, more passionate. Rhaenyra’s hand finds its way to the back of your neck, pulling you closer, while your own hand rests on her waist, feeling the warmth of her body through the fabric of her dress. The world outside the room fades away, leaving only the two of you, bound together in this moment.

When you finally pull apart, both of you are breathless, your foreheads resting against each other’s as you take in the reality of what just happened. Rhaenyra’s eyes are dark with desire, her voice a mere whisper as she speaks. “Join me… in the bath.”

There is no hesitation in your response, only a quiet nod of agreement. You both rise from your seats, the space between you charged with anticipation. Rhaenyra’s hand slips into yours, leading you toward the bath that still steams softly in the corner of the room. The heat from the water fills the space, creating a cocoon of warmth and intimacy.

Standing beside the bath, you turn to face each other, the moment heavy with significance. Slowly, reverently, you begin to undress one another, your hands moving with a gentle purpose. Rhaenyra’s fingers trace the edges of your cloak, slipping it from your shoulders, while your own hands find the laces of her dress, loosening them with deliberate care. Each piece of clothing falls to the floor with a whisper, leaving you both bared to each other, not just in body, but in soul.

Rhaenyra’s gaze sweeps over you, appreciation and desire evident in her eyes. She reaches out, her hand trembling slightly as she brushes a lock of hair from your face, her touch tender, almost reverent. “You are… beautiful,” she murmurs, her voice thick with emotion.

You smile softly, your own hand coming up to cup her cheek, your thumb brushing against her skin. “As are you, Rhaenyra. You are radiant.”

There is no more need for words as you step into the bath together, the water embracing you both in its warmth. You sink into the water, Rhaenyra following, her body pressing against yours as you both settle into the comfort of the bath. The heat of the water contrasts with the cool air of the room, heightening every sensation.

You share another kiss, this one slower, more languid, as if savoring each moment. Your hands begin to explore one another’s bodies, tracing the curves and lines with a tenderness that belies the passion simmering beneath the surface. You feel the strength in her arms, the softness of her skin, and the way her body trembles under your touch.

Rhaenyra’s breath hitches as your hand moves lower, finding the heat of her womanhood. She mirrors your movement, her fingers slipping between your thighs with a surety that makes you shudder. The contact is electric, sending ripples of pleasure through both of you. The world narrows to the sensation of her touch, the way her breath mingles with yours, the warmth of the water lapping at your bodies.

There is a rhythm to your movements, a dance of desire and affection that grows more intense with each passing second. Rhaenyra’s moans mix with your own, her voice breathy and desperate as she clings to you, her hips moving in time with your hand. The water sloshes gently around you, the only witness to this intimate exchange.

As the pressure builds within you both, the touches grow more urgent, the kisses more fervent. Rhaenyra’s hand tightens on your shoulder, her eyes squeezing shut as she reaches the edge. You follow her soon after, your bodies trembling together as the waves of pleasure crash over you, leaving you both breathless, your hearts pounding in the aftermath.

For a moment, there is only the sound of your breathing, the gentle lap of the water, and the warmth of Rhaenyra’s body pressed against yours. Slowly, the intensity of the moment ebbs away, leaving behind a deep, abiding connection.

Rhaenyra leans her head against your shoulder, her breath warm against your neck. “That was… incredible,” she whispers, her voice still tinged with the aftershocks of pleasure.

You smile, your hand gently stroking her back as you hold her close. “It was,” you agree softly, feeling a profound sense of contentment.

The two of you remain like that for some time, simply holding each other, basking in the warmth of the water and the closeness of your bodies. There is a gentle, unspoken understanding between you now, a bond forged not just by passion but by mutual respect and deepening affection.

As the water begins to cool, Rhaenyra lifts her head, looking into your eyes with a soft smile. “Let’s dry off and rest,” she suggests, her voice gentle. “There is much we still need to talk about… but for now, I just want to be close to you.”

You nod, helping her out of the bath and wrapping yourselves in the towels that were left nearby. As you dry each other off, the touches are more tender, more affectionate, than before. There is no rush, no urgency—only the simple pleasure of being together.

Once dry, you both slip into the bed, the sheets cool against your heated skin. Rhaenyra curls up beside you, her head resting on your chest, her hand lightly tracing patterns on your skin. You hold her close, your own hand gently stroking her hair, the intimacy of the moment filling you both with a deep sense of peace.

“Tell me more about your journeys,” Rhaenyra murmurs, her voice drowsy as sleep begins to tug at her.

“Of course,” you reply softly, your voice soothing as you begin to share more tales of distant lands and ancient times. Rhaenyra listens, her breathing slowing as she drifts off, content in your embrace.

As she falls asleep, you continue to hold her, your own eyes growing heavy with exhaustion. But before you succumb to sleep, you take a moment to appreciate the warmth of her body against yours, the comfort of her presence. 

Together, in the quiet of the night, you both find rest, the bond between you stronger than ever before.

The dawn is just breaking over Dragonstone, casting a pale golden light across the harbor. The sea is calm, the waters reflecting the first light of day like molten glass. The ships are ready, their sails furled and waiting for the wind to carry them across the Narrow Sea. Rhaenyra stands on the dock, her expression stern, though her heart is heavy. The decision to send her children away, to safety in Pentos, has not come easily. Aegon and Viserys cling to her skirts, their young faces filled with confusion and fear, while Lucerys stands beside her, trying to put on a brave face for his younger brothers.

Jacaerys, their eldest, stands a short distance away, his jaw set in determination, though there is a flicker of uncertainty in his eyes. He is prepared to escort his brothers, to protect them as best he can, but the weight of responsibility is a heavy burden on such young shoulders.

Rhaenyra kneels to embrace her children, whispering words of comfort and love, even as her heart aches with the knowledge that she may not see them again for a long time—if ever. As she stands and turns to Jace, a shadow passes over the group. She looks up, expecting to see a cloud or a bird, but instead, it is you, descending from the sky on your Banshee, the creature’s leathery wings creating a powerful downdraft as it lands gracefully on the docks.

You dismount with practiced ease, your cloak billowing around you as you stride toward the group. The lords and soldiers present step back instinctively, the stories of your deeds still fresh in their minds. Jacaerys stiffens as you approach, sensing that something is about to change.

“Y/N,” Rhaenyra greets you, her voice laced with surprise but also a trace of relief. “You’ve come to see them off?”

You nod, but your gaze is focused on Jacaerys, who meets your eyes with a mixture of respect and defiance. “No, Your Grace,” you say calmly, “I’ve come to take Prince's place.”

Rhaenyra’s brow furrows in confusion, and Jace steps forward, his voice firm but uncertain. “But Mother has tasked me with escorting my brothers. I can’t leave them to face this journey alone.”

“You won’t be leaving them alone, Jace,” you reply, your tone gentle but unyielding. “But your place is here, by your mother’s side. She needs you now more than ever.”

Jace opens his mouth to protest, but you raise a hand, silencing him. “You won’t make it past the Gullet,” you continue, your eyes narrowing slightly as you speak. “On my last flight, I saw ships from the Free Cities approaching fast, likely in league with the Greens. They will be waiting for you, and you will not have the strength to fight them off. But I can.”

The gravity of your words sinks in, and Rhaenyra’s hand instinctively tightens on Jace’s arm. The boy hesitates, torn between his duty to his brothers and the growing realization that you speak the truth.

Rhaenyra’s gaze shifts from her son to you, her eyes searching yours. There is a deep understanding between you, born of the time you have spent together, the shared battles, and the nights spent in quiet conversation. She knows you too well, and she can sense what you are not saying.

“Y/N,” Rhaenyra begins, her voice low and laden with concern. “You intend to go alone, don’t you?”

You nod slowly, the sadness in your eyes betraying what you cannot bring yourself to say outright. “This is something I must do, Rhaenyra. It is time for me to fulfill my calling, to see this through to the end.”

“No,” Rhaenyra says firmly, shaking her head as she steps closer to you. “You are not just an ally, Y/N. You are more than that. You have become… indispensable to me, to us. I cannot let you go, not like this.”

You offer her a sad smile, one that speaks of centuries of experience, of knowing when a path must be walked alone. “I have only ever obeyed one master, Rhaenyra,” you say softly, reaching out to gently cup her cheek. “And that is my calling. This is something I must do, for myself, and for those who have gone before me. My time here is coming to an end, and it is time for me to go home.”

Rhaenyra’s eyes glisten with unshed tears, but she blinks them away, her voice breaking as she speaks. “Will I ever see you again?”

You take a deep breath, your gaze lifting to the sky, where the first stars of evening are beginning to twinkle faintly, though the sun has barely risen. “I will be watching over you every night, Rhaenyra,” you reply, your voice tender and filled with an unspoken promise. “Whenever you look up at the stars, know that I am there, looking at you.”

For a moment, there is only silence between you, the weight of the world hanging in the air. Rhaenyra reaches up, placing her hand over yours where it rests against her cheek, holding on to the warmth of your touch as if she could somehow keep you with her.

“Then promise me,” she whispers, her voice trembling. “Promise me you’ll come back.”

You lean in, pressing a soft kiss to her forehead, your lips lingering there for a heartbeat longer than necessary. “I promise I will do everything in my power to return,” you say, your voice filled with the sincerity of your oath. But there is something unspoken in your words, a truth that both of you know but do not want to acknowledge—that sometimes, not all promises can be kept.

Rhaenyra steps back reluctantly, releasing your hand, her eyes never leaving yours. She nods, accepting your words even as her heart rebels against them. “Go, then,” she says, her voice filled with the strength of a queen but the sorrow of a woman who knows she may be losing someone dear. “But remember that you have a place here, with us, with me. And if you can… come back to it.”

You bow your head slightly in acknowledgment, your expression one of quiet resolve. “Take care of your family, Rhaenyra,” you say, turning to the children, your eyes lingering on Jacaerys for a moment. “And remember what I’ve taught you.”

With that, you mount your Banshee, the creature’s wings stretching out in preparation for flight. You glance back at Rhaenyra one last time, committing her face to memory—the strength in her eyes, the sadness in her smile—before turning your gaze forward, to the horizon where your destiny awaits.

The Banshee’s powerful wings beat the air as you take off, soaring into the sky above Dragonstone. Below, you see Rhaenyra and her children watching, growing smaller and smaller as you climb higher into the sky. The wind rushes past you, carrying with it the scent of the sea and the distant promise of what is to come.

As the island fades into the distance, you feel a sense of peace settle over you. You have made your choice, and it is the right one. 

And somewhere below, on the shores of Dragonstone, a queen stands alone, her gaze lifted to the heavens, searching the skies for a glimpse of the one she has come to care for more than she ever thought possible. As the stars begin to emerge, she knows that, wherever you are, you are looking at them too, and perhaps, just perhaps, you will find your way back to her, to the home you have both made together.

But for now, all she can do is wait, and hope, and hold on to the memory of your final kiss, a promise that will echo in her heart for as long as she lives.

Years have passed, and the Red Keep stands tall against the night sky, its ancient stones bathed in the soft glow of moonlight. The castle, once a symbol of unyielding strength, now bears the weight of countless battles, of loss and victory, of the bloodshed that shaped the Seven Kingdoms. Yet, despite the passage of time, one constant remains: the stars, ever-present, watching over the realm with a silent, timeless gaze.

Rhaenyra Targaryen, now older and wearier, stands alone on the balcony of her chambers. The years have etched lines of sorrow and wisdom onto her face, and her once fiery spirit has been tempered by the trials she has endured. Her long silver hair, once a brilliant cascade, now carries strands of white, a testament to the time that has passed and the burdens she has carried. She wraps her cloak tightly around her shoulders, shielding herself from the cool night breeze that whispers through the Red Keep.

Her gaze is fixed on the sky, on the stars that glitter like diamonds against the velvety darkness. The constellations are familiar to her, their patterns etched into her memory from countless nights spent searching them for solace, for answers, for a glimpse of the past. The night is clear, the sky vast and endless, and yet Rhaenyra feels a deep, aching loneliness that even the stars cannot fill.

She lifts her chin slightly, her eyes tracing the paths of the stars as they twinkle serenely above. It has become a ritual of sorts, this nightly vigil, a way to connect with something greater than herself, to find comfort in the constancy of the heavens when everything else has changed.

But tonight, the stars seem more distant than ever.

She remembers those who have been lost to the ravages of time and war—her children, her loved ones, and the countless souls who once stood beside her. She remembers the faces of those who are no longer here, their voices now echoes in her memory. And among those memories, one stands out more vividly than the rest.

It has been years since you left her, years since you took flight from Dragonstone, vowing to protect her children, to do what needed to be done. You had promised to look after them, to see them safely to the other side of the Narrow Sea. And you had promised, in your own way, to return—to find your way back to her, to the place you both shared.

But you never did.

Rhaenyra’s heart tightens at the thought, a pang of sorrow so deep it threatens to overwhelm her. She has long since stopped searching the skies for your return, knowing deep down that you had fulfilled your destiny, whatever it may have been, and that she would never see you again. And yet, on nights like this, when the stars are particularly bright, she can’t help but wonder if somewhere, in some distant part of the world, you are still watching over her, as you had promised.

She leans against the cold stone of the balcony, her hands resting on the worn edges, her gaze unfaltering. The years have taken so much from her, but the memory of you remains, as vivid as the night you shared on Dragonstone, as real as the last kiss you gave her before you took to the skies. It is a memory she holds close, a fragment of warmth in a world that has grown increasingly colder.

The wind picks up slightly, rustling the leaves of the trees far below, carrying with it the faintest scent of the sea. It is a reminder of a time long past, of a love that was as fleeting as it was profound. Rhaenyra closes her eyes for a moment, letting the wind brush against her face, imagining it is your touch, soft and comforting, as it once was.

But when she opens her eyes, the night remains as it was, unchanged, the stars twinkling impassively above. She takes a deep breath, the weight of the years pressing down on her, and yet, there is a certain peace that comes with it. She knows that you are out there, somewhere beyond the reach of mortal hands, and that perhaps, in your own way, you are still watching over her.

Rhaenyra lifts her hand, as if to touch the stars, her fingers stretching out toward the endless sky. It is a futile gesture, and she knows it, but it brings her a small measure of comfort nonetheless. She lets her hand fall back to her side, her gaze lingering on the stars for a moment longer before she turns away, retreating into the warmth of her chambers.

As she closes the balcony doors behind her, shutting out the chill of the night, Rhaenyra takes one last look at the sky. The stars continue to shine, distant and unwavering, and she knows that they will be there long after she is gone, just as they were before she was born. They are a reminder of the constancy of the universe, of the passage of time, and of the fleeting nature of life.

And as she steps back into the familiar confines of her room, she carries with her the memory of you—of the love that once was, of the promises made beneath the stars, and of the bittersweet knowledge that some things are not meant to last forever.

But even in that knowledge, there is a certain beauty, a quiet acceptance. For Rhaenyra knows that, in the end, it is not the length of time that matters, but the depth of the moments shared. And though you are gone, the memory of those moments remains, a light in the darkness, a star in the sky, guiding her even now.

And so, she closes her eyes, allowing herself to rest, knowing that, wherever you are, a part of you is still with her, in the stars above, in the memories you left behind, and in the love that will never fade, no matter how many years pass.

[blueiscoool]

The 'Carnyx' Nightmare of the Roman Soldiers

The Carnyx was a brass musical instrument used as a psychological weapon of war by the ancient Celts between 300 BC and 200AD in western and central Europe and beyond.

The carnyx was once widespread throughout much of Europe, although only a dozen or so fragments are known to us.

It was carried by bands of Celtic mercenaries; it was present at the attack on the Greek sanctuary at Delphi in 279 BC; it defied Julius Caesar in Gaul; and it faced Claudius when he invaded Britain. They are even shown on a Buddhist sculpture in India, proof of the far-flung connections of the Iron Age world.

However, they were not only used by the Celts; they were also used by the Dacians in modern Romania. The term “Celtic” is a complicated one. The concept of a pan-European Celtic culture is a myth; rather, aspects of art and technology were shared across vast distances by diverse cultures. The carnyx was one example of this.

A 12-foot-long, thin bronze tube with right-angle bends on both ends made up the carnyx. The lower end ended in a mouthpiece, and the upper end flared out into a bell that was usually decorated to look like a wild boar’s had. Historians believe it had a tongue that flapped up and down, increasing the noise made by the instrument. The carnyx was played upright so that the boar’s head bell protruded well above the warriors’ heads. Its primary goal was to create more noise and confusion on the battlefield.

The Greek historian Polybius (206-126BC) was so impressed by the clamor of the Gallic army and the sound of the carnyx, he observed that “there were countless trumpeters and horn blowers and since the whole army was shouting its war cries at the same time there was such a confused sound that the noise seemed to come not only from the trumpeters and the soldiers but also from the countryside which was joining in the echo”.

And the Roman historian Diodorus Siculus wrote, “Their trumpets are also of a peculiar and barbaric kind which produce a harsh, reverberating sound suitable to the confusion of battle.”

Archaeologists discovered a hoard of ritually destroyed weapons in 2004, including a dozen swords, scabbards, spearheads, a shield, bronze helmets, an iron helmet shaped like a swan, a cauldron, animal remains, and seven carnyces. Before the Tintignac discovery, the remains of only five actual carnyces had been found.

The finest was unearthed in Deskford, Scotland in 1816. The Deskford carnyx only has the boar’s head bell and is missing the mane, tongue, and tubing. Images of Carnyx players have been found as well. A Roman denarius, dating from 48 BC bears a representation of a Carnyx. Three carnyx players are featured prominently on the Gundestrup Cauldron, which was found in a Danish peat bog.

One of the seven found at Tintignac, on the other hand, was almost entirely complete. The Tintignac Carnyx was broken into 40 pieces. When puzzled back together, it was found to be just an inch short of six feet long with a single missing section of the tube. The bell was a boar’s head with protruding tusks and large pointed ears. Once restored, the Tintignac Carnyx proved to be the first virtually complete carnyx ever found.

By Leman Altuntaş.

Music video by John Kenny.

[astra-ravana]

Mirror Magick Applications

Mirrors are a big part of our lives. Mirrored surfaces, both man-made and natural exist almost everywhere. Every culture has myths regarding mirrors and I'm sure some of these we have all heard. Such as breaking a mirror is worth seven years of bad luck, that you shouldn't keep them in the bedroom, or to cover all your mirrors after someone dies, so their soul isn't trapped. Mirrors are more than just shiny bathroom fixtures, they are literal portals and amplifiers with several magickal utilities.

Trapping Energy by Charging Mirrors

Mirrors can be used to 'trap' the energy of any setting you find particularly powerful. For example: leaving your mirror close to the ocean waves or in a dark forest overnight. It will absorb the potent natural energies, then you can use the mirror in late workings as you please.

Lunar magick is another area where mirror work is ideal. Place a few mirrors under the moon to charge them with the energy of that phase. If you want to use them for a specific purpose, consider marking them with a symbol or sigil. When you need the energy of the moon, or a moon phase, you can access it as needed by using an appropriately charged mirror.

Amplification

Mirrors, like crystals, can help to amplify the power of your spells ans rituals. Keeping a mirror on your altar can bolster and increase the success of your workings. Just as focused sunlight on a mirror ignites a fire, focused magick will ignite a spell. Make sure your spell components are reflected, or better yet, perform the working on top of a mirror, to substantially increase its power.

Scrying and Accessing Other Realms

When correctly utilized mirrors can be used to access messages and visions that we wouldn't normally be able to connect with. Scrying is an ancient divinatory magick that is often used as a form of fortune-telling. Traditionally, a lot of scrying was done with water, the ancient Celts and Greeks even practiced this form of divination. Mirror scrying is an evolution of these water oracles, with historical practitioners like the famous John Dee, who used highly polished silver, brass, mercury, or obsidian.

Scrying wit mirrors can be particularly powerful due to the idea that your reflection is the manifestation of your soul. When viewing your reflection, if you're well in tune with yourself, you can ask your soul questions regarding your life and development or even open up the door to another dimension entirely. Mirrors can be enchanted and sigified into being gateways in and of themselves.

Many scrying mirrors are black because one's own reflection can be rather distracting. The traditional material of a black mirror is obsidian, however you can craft your own by painting one side of a piece of glass black. Picture frames are great for this. A black mirror is the best option for scrying as you won't be distracted by your own features, leaving you open to interpret your visions.

Banishing

Mirrors, as reflective surfaces and magickal conductors, are often used in banishing spells. Banishing magick can be used when someone is directing negative energy your way or you're being harassed. In this case, a mirror can be used to return bad energy back to the person who sent it.

Banishing magick can be a wonderful tool when applied to bad habits or negative thoughts as well. To banish an idea or behavior, encant something akin to: "[what you're banishing] you've caused me pain, I banish you, now stay away. Mirror help to reflect my plight, and keep [what you're banishing] out of sight". Keep the mirror close to you in order to protect you from what you're banishing.

Defense

Mirrors are also an incredibly effective defensive tool. They can deflect any negative energy, ill intent, or malevolent spirits sent your way. By placing mirrors in areas where you need the most protection, you can repel any unwanted energy trying to infiltrate your space. For added potentcy, draw a protective sigil/symbol on the mirror and/or place a protective crystal in front of it.

Hexenspiegal: The Witch's Mirror

A hexenspiegal is a small mirror used as a protective charm to reflect away baneful/attack magick, the evil eye, and other bad omens and intentions, as well as return the energy back to its sender. Its basis is in German folk magick. Translated, it means "witch's mirror". Hexenspiegals may be suspended from cords, fastened to walls, or, in the case of small ones, worn as jewelry. You can make your own by cleansing, decorating (optional), and sigifying/enchanting a small mirror to your intent.

[literaryvein-reblogs]

hI! Do you have any references on festivals? Like Saturnalia but not just limited to roman/greek ones but similar pagan or medieval type festivals (or other eras or cultures?)

Writing References: Pagan Festivals

Wheel of the Year (Contrary to modern-day Wiccan claims, there is no evidence of an ancient Wheel of the Year in its present form but it is clear that the Celts of thousands of years ago celebrated the festivals the wheel highlights, even if these celebrations were known by another name now long lost.)

Wheel of the Year: The Calendar of Pagan Festivals Explained

Some Festivals in Ancient Rome (Lupercalia; Floralia; Vulcanalia; Quinquatria; Saturnalia)

Some Festivals in Ancient Egypt (Wepet-Renpet Festival; Wag Festival; Wag and Thoth Festival; Tekh Festival: The Feast of Drunkenness; Opet Festival; Hathor Festival; Sokar Festival/Festival of Khoiak; Bast Festival; Nehebkau Festival; Min Festival; Wadi Festival/The Beautiful Feast of the Valley; Sed Festival; The Epagomenae; The Festival of Neith)

Pagan Winter Solstice Festivals (The Birth Of Mithras; Saturnalia; Yule)

Some Obscure Pagan Festivals (The Burryman Procession; Fêtes de L’Ours: Festival of the Bears; Harvest Home; Fasnacht, or Carnival; Gody Zywieckie)

Some Ancient & Pagan Holidays (Saturnalia; Eleusinian Mysteries; Yule; Wepet Renpet; Lupercalia; Akitu; Samhain; Liberalia; Dionysia; Imbolc)

Ancient Greek Festival of Panathenaea

Qingming Festival ⚜ Shehuo Festival

Hungry Ghost Festival ⚜ Pagan Origins of Christmas

Wheel of the Year. Includes the following holy days (most dates flexible year-to-year):

Samhain (31 October)

Yule (20-25 December)

Imbolc (1-2 February)

Ostara (20-23 March)

Beltane (30 April-1 May)

Litha (20-22 June)

Lughnasadh (1 August)

Mabon (20-23 September)

These 8 festivals are designed to draw one's attention to what one has gained and lost in the cyclical turn of the year.

As in the ancient Egyptian civilization (and others), the Celts believed that ingratitude was a 'gateway sin' which then led a person into the darkness of bitterness, pride, resentment, and self-pity.

By pausing to reflect upon gratitude for what one had been given in a year, as well as what one had lost but still cherished in memory, one maintained balance.

More: Writing Notes & References ⚜ Writing Resources PDFs

Hi, here are some references. Let me know if you're looking for any more specific one/s I wasn't able to include here. Hope this helps with your writing!

[creativesaturn]

Okay, so I have recently started watching criminal minds (literally on ep 10 of first season) anyways, Spencer with a bimbo! Reader who loves to listen to him even if she doesn't understand anything, she just keeps nodding along with whatever he says and he realizes she doesn't UNDERSTAND SHIT and he tries to dumb it down for her and it turns her on because it's so sweet of him to do so-

sorry if it doesn't make sense, he has me in a brainrot

Summary: It's almost Spencer's favorite holiday, meaning he's been going on rants every chance he gets. He knows you're interested, but it's not worth getting too confused about.

Genre: Fluff

Pairing: Spencer Reid x bimbo!reader

Warnings: None

Word count: 390

a/n: couldn't think of something for him to rant about but my favorite holiday also happens to be Halloween so hope this is okay!!!

It was Halloween Eve, on the jet who sat in front of you was, Spencer. The stars feeling like they were chasing after you as the jet moved.

You knew Halloween was Spencer's favorite holiday. It was obvious when he'd show up to work with a random monster masks and attempt to scare anyone who walked by.

You couldn't help yourself but ask what he was doing tomorrow, intrigued on what he spends his time doing because you knew it wasn't trick or treating.

This, of course, turned into a long rant. Your eyes focused on his as he moved his hands to express every word.

"The origins of Halloween actually date back 2,000 years to the ancient Celtic festival of Samhain, which was celebrated on October 31st, on the eve of their new year. The Celts believed that the dead returned to earth that night, and so they lit bonfires and donned costumes to ward off the ghosts." He smiled as he went on, his eyes having that sparkle every time he noticed you were deep into the conversation.

"Celtic festival?" You asked, tilting your head. He shifted in his seat to get more comfortable to speak once more, "Ancient Celtic festivals included religious and seasonal events such as bonfires, harvest festivals, storytelling and music festivals, and dance festivals. Its actually quite interesting, when you read more onto their culture." He nodded, cracking his knuckles against his palms.

You asking Spencer questions wasn't bait. Although you find it quite attractive when he'd get into something, you were still always confused. Not even just when Spencer would go on rants, anything anyone would say that was slightly out of your vocabulary suddenly hitting you like a brick when you realize you don't understand.

"Huh.." You nodded, "Wait, so they kinda, invented Halloween?" Your voice always had curiosity laced inside of it, you were never not curious or confused about something you didn't quite understand.

"Uh--well..." He wanted to go on again, but you'd be even more confused if he did so. "Yeah, basically." He nodded, smiling at the way he understood he was going to have to dumb things down for you.

You subconsciously formed a smile when you realized he stopped to give a basic explanation, but at least you understood it. Or, at least some of it.

reposts and comments are appreciated <3

[the-californicationist]

he lets you watch

When you overhear Captain Price watching porn in his office, you decide to turn his fantasies into a reality.

Link to AO3

MDNI/18+

TW: femdom, gagging, one slap

You were working late. Again. It was the most frustrating part of any operation: recon review. All the footage collected from all the soldiers’ body cams had to be reviewed and documented. Any dialogue? Syntactically tagged. Any shots fired? Counted. Any kills? Confirmed. You were glad to help the team, but this stage of discovery was dreadfully boring. 

Even worse, your new-found crush on your captain was driving you insane. To be honest, you’d had your eye on him for a while. There was something about a man in charge, but it was when this last set of footage came through that you really went off the deep end. 

Price had gone with Gaz into a warehouse that was suspected of housing enemy munitions, and the captain had uncovered crates and crates of target-marking spray paint. Huge canisters that attached to the bottoms of planes were all stuck in little rows, lined up and ready to use. 

Unfortunately for the captain, one of the canisters was propped open on the top of its box, and when he lifted the lid, he got covered in red dye. You watched it explode, covering the camera, and then when it reconnected, there he was. Shirtless. Down to his boxer briefs. Wiping red dye off of himself with his clothes. Gaz had brought a full kit, so Price was changing out, hoping to stay covert and camouflaged in the clean gear. Couldn’t well be a glowing red dot while trying to escape enemy territory. 

His chest was broad and full of dense, dark hair, laying flat like soft fur, untrimmed and natural. His beard was streaked red, and half his face was painted, making him look like an ancient Celt, ready for brutal highland battles and bedding willing lassies. He was frustrated by his accident, so all of his movements were sharp and aggressive, his muscles raging and wrestling against his skin. Then, he moved closer to the camera, and the bulge in his underwear became glaringly apparent. 

Hung. Thick. Not so long that it was out of place, but heavy. His cock was imposing, and when he readjusted himself, you could see how dense the muscle really was. You couldn’t help but pause the film, staring, in glorious 4k. You nearly had to wipe the drool from your mouth. 

Price looked so confident here. He was always self-assured, but sometimes, when you spoke with him, there was something that he was holding back. Some shyness perhaps, maybe just a reserved nature, but not here. Not in his livid rage, he was like a wounded beast - angry and virile. Full of righteous energy. It made you imagine making him come undone in other ways, in the ways a woman was meant to make a beast like that come apart at the seams. Ripping the constricting threads and freeing the hulking creature looming within. 

Now, he was sitting in his office, right next to yours, and he’d started watching footage of his own. Or, at least, you thought that he was watching the cams…until you heard a woman’s salacious moan penetrate the thin wall between you. 

Your eyes grew wide, and your breath caught in your chest. You sat in the silence of your office, hearing your heart pound in your ears. You waited to hear it again, just to be sure.

Then, a very quiet, 

“You wanna come?”

You let out the breath you’d been holding. It wooshed from you like a wave crashing against miles and miles of sand. 

Something snapped, some darkness possessed you. You found yourself standing, walking toward the door to his office. It was so late, everyone else had turned in. Just you and him in the west hall of the base awake. He never slept, it seemed. A night owl like you. 

You opened his door without knocking. You’d never done that before, and objectively, it was a truly insane choice. 

In your mind, his hand had lingered when he took his cup of coffee from your hands. In your imagination, he’d cocked a sly smile when you made a joke, just between you and him. You thought you’d seen him checking out your ass in the gym. But, you didn’t have any real proof. 

Popping open his door was the equivalent of pulling the trigger on a bazooka. 

He stood, caught like a fox in a snare, his chair clattering as you came into the room and shut the door behind you quickly. 

“Sergeant, uh,” he recovered, “What happened?”

“Captain.” 

It was a full sentence. And, it was all you had. You were finished. 

The video was still playing. The lurid slapping of skin on skin. Her over-acted moans, his ritual panting. Every few seconds, you counted three, there was another soft,

“You like that, daddy?”

You smiled. He turned red, just like he’d been painted again. 

“Sergeant, I was just…”

He paused the movie. Then, with his body, with the hand roughly rubbing down his face, with the palm tightly covering his mouth, he said a million other words. He was still pink with shame, and then he laughed,

“Yeah, no. I was ‘bout to have a wank. Not sure why I was trying to make you believe otherwise, love. Sorry. It’s too loud?”

You smiled wider. His genuine honesty was so smooth and effortless. A thief caught with his hands in the cookie jar, begging you to punish him for it. 

“No,” you shook your head, “Just wanted to see what you were watching.”

He didn’t register what you said at first, still staring down at his boots. Then, realization washed over him and he looked up at you, eyes shining, brows arched.

“Oh? That so?”

You nodded,

“Let me see what’s got you up so late.”

The captain rubbed a big, calloused hand across his mouth, smoothing his beard, a bit nervous. Then, he pulled a chair around and motioned for you to sit beside him. You sat. He sat. He hit play. 

A woman was straddling a man, both of them hairless and slick like brand new Barbie dolls, spray-tan orange and bleach-blond hair. Americans. She was riding his larger than average dick slowly, deliberately slow, edging him with her pussy. She had a hand around his throat, grasping his jaw tightly, pushing his head back. He was tied to the chair, straining against it, clearly desperate as he writhed beneath her, fighting his restraints. 

“Please, baby. Please, let me come?” He begged. 

“You wanna come, daddy?” She teased. 

“Yeah, can I come?” He begged. 

“Ah-ah! I don’t think so…” She teased. 

Begging. Teasing. Begging. Teasing. A vicious, uncontrollable cycle of cruelty on her part, always pulling the proverbial carrot farther and farther from his snapping jaws. 

You turned to Price who was watching, rapt. He noticed you staring at him. Before he turned to face you, he smiled, sighing,

“Sometimes, when you’re the one barking orders all day, it’d be nice to turn your head off and follow someone else’s for a change.”

“You could follow my orders,” some psychotic part of you spoke. 

He gripped the side of the chair, his once-relaxed hands now making the cheap aluminum frame creak and pop. 

“What’d you say, Sergeant?”

“You heard me, Captain,” you didn’t know if you should call an exorcist or what. Who was this version of yourself and how quickly was she going to get you court martialed?

“You think you can order me around?”

You leaned in, close enough to smell the tobacco on his breath, Cuban cigars leaving earthy notes of vanilla and licorice behind. You whispered,

“I know I can.”

He breathed out, his exhale caressing your lips, threatening to kiss you. 

You didn’t move. Not a muscle. You locked eyes with him, 

“Sit on your hands, Captain.”

“Sergeant,” he tried to kiss you, but you pulled away quickly. 

Part of your body screamed at you, wondering why you’d avoid his advances, but your mind knew what he wanted. He needed to lose control. For a man like Price to lose it, it must be taken from him. Forcibly. 

“I said sit... on... them,” you sneered, making yourself larger by standing over him, placing your hands on his thighs to press into his skin. 

“Yes, ma’am,” he laughed, patronizing and light-hearted. It made you want to break him of that habit. Of thinking you were just his sergeant. Just the girl who brought him coffee. Just his gym buddy. 

He still hadn’t complied, chuckling to himself. Out of no where, you straight up fucking slapped him. Hard. Right across the jaw. Grabbing him by the collar,

“Sit on your fucking hands, soldier. That’s an order,” you barked. 

He sat on his hands, staring at you like you had doused yourself in gasoline and caught yourself on fire, in awe.

You pushed his chair back until you had room to move in front of him, and you began peeling off your clothes, one by one. Your shirt, your cargos, your bra, your panties; they all ended up on the floor, leaving you naked and touching yourself lazily, letting your hands wander. 

He moved to lift his hands off his seat, wanting to touch, so you backed away from him. It was a warning: move and this ends. Follow my orders, and I’ll stay. He settled back down. 

“You know, I should punish you for slapping me, Sergeant. That’s insubordination,” he chided, trying to regain control of the situation. 

You took your panties off the ground and found the wet stain he’d caused, showing it to him coyly, like you’d picked up a pretty shell from the beach. It gleamed in the light of his desk lamp. Then, you walked over to him, swaying your hips, and bent down as if to kiss him. 

As he opened his mouth to kiss you back, you pushed your panties into it, past his teeth, clutching at his jaw with the other hand as roughly as you could, knowing you couldn’t hurt him. You shushed his surprised noises, putting a finger to his lip,

“Shh, Captain. That’s enough. You’re not in charge anymore, are you?”

He furrowed his brow as if he would fight back, as if he would remove his hands and teach you a lesson. Then, as he tasted you on his tongue, he realized that you were offering prizes for obedience. He would reap the rewards, if he was willing to play along. His face softened, and he shook his head no. 

“Good boy,” you whispered. 

You kissed his mouth, awkwardly, since it was full of your wet panties, there was little he could do except experience your kisses. He reacted as if he wanted to kiss you back, and as you moved to kiss his jawline, he moaned. 

Price’s moans were rumbling and deep, long and low like a bull elephant’s roar. You wanted to drag that noise out of him again. Your hand found his belt buckle, and you rugged at it, willing it to loosen. As you kissed his neck, you drug down his zipper and freed his cock from the fabric. 

The captain was not soft. If anything, he was harder than he should’ve been for a little teasing and some neck kisses. You decided to use that to his disadvantage,

“My, my, my. Someone’s eager…”

You tugged up and down with length in a long, languid massage, feeling how his foreskin slipped over the head and down the shaft, smooth and supple. He was hairy around the root of his cock, just as you’d hoped, and after seeing the video of him covered in paint, you wished you could strip him down and run your fingernails through his chest hair, delicately scratching his skin and peaked nipples. 

For now, you spit on his cockhead, using it as lube as you rubbed him. He threw his head back in ecstasy. You removed your hand. He snapped back to attention, staring at you a bit desperate for relief. 

You giggled, 

“Is this for me, or for her?”

Pointing over your shoulder, you motioned to the paused video. You took your hand away, feigning hurt feelings.

His body arched toward you, missing your touch, and he shook his head, trying to say something. 

“For her? How disappointing,” you pouted, playing with the head of his cock with one finger, drawing circles around the edge. 

Price was saying something muffled through the fabric of your panties, shaking his head, scooting his chair closer with a quick thrust of his hips, making his cock flag from the jolting movement. 

“You know,” you whispered, drawing him in with your quiet tone, “if this was for me, I’d really be looking forward to feeling it inside of me.”

“Mmm. Mm, mm!” He tried to correct you, his shoulders straining as he pulled them forward, struggling against his self-imposed restraint. 

“Oh?” You caressed his face, rubbing your hand through his soft beard, feeling the stubble on his chin, “It is for me after all?”

“Mm hm,” he nodded, leaning his cheek into your palm, eyes hooded with relief. 

You could tell he was enjoying the game. You were enjoying it, too. You could feel how wet you were, watching him gaze at your shining folds hungry. Impatient. 

“In that case…” you straddled him, planting your knees on either side of his hips, trapping his cock between you both. His body felt warm, and his breathing was labored. 

You rubbed your wetness up and down his shaft, spreading yourself along his length, making wet little sounds as you smeared him until he was slippery. 

Carefully, you moved his head into your eager pussy, your walls pounding for him like a heartbeat. Then, you held his throat with your hand, forcing him to look at you. 

“You don’t get to come until I tell you to. Do you understand, soldier?”

“Mm, hm,” he nodded, rolling in the ecstasy of your tight cunt. 

“Good, boy.”

[naturistgirl]

HAPPY NATURIST MIDWINTER

I write on the Eve of the year's longest night. This is the turning point of the natural year, one when nature seems to all but stand still. In the Wild Wood near our home, all seems quiet bare and still. It is as though the earth holds its breath while gathering strength. Still there are signs of strong and vibrant life. The holly trees are green, glossy and magnificent right now; the females laden with scarlet berries. Ivy glows in its shiny glory, its flowers giving way to the slowly ripening berries. By January they will turn glossy black. The Yew trees stand guard, wearing a darker green. There are blue tits twittering in the thickets as they hunt for food. High winds are forecast this weekend and the strong breeze will naturally trim the branches above us.

Now is a time when the ancient Celts mourned the loss of sunlight and looked forward to nature's rebirth. At this time of year, people have always headed into the abundant woodland to forage. Clothing was certainly optional. So it is for us too. I might wear a coat if it is near freezing but little else. People gather those fallen branches to fuel their winter hearths and keep warm. They gather green branches too to cheer their homes. All is at should be and we wander naked among the trees, enjoying the little light there is right now.

I am a person of faith, though not a Christian. I am a mother and appreciate that for some, this is a time to welcome a baby's birth. I brought my own first born into this beautiful world in cold January, not long after this time. New birth always brings joy to everyone, and for a new young Mum as I was, contentment. Your baby rests on your belly in full view where before she nestled inside you. Her little mouth searches for your breast and she imbibes life. All this is done naturally. You are naked, she is too. You will wrap her to keep her warm later but for now you are both as the creator intended you to be: No shame, no worry about clothing, just you and her.

For me and my faith, this is a time to recollect when our liberty was threatened, when the right to be who we are was denied. On the night of the 25th, we light one candle and celebrate our freedom; freedom to be who we are. Each night will see a new candle as others join in that celebration. We eat the produce of the earth; frying potato pancakes, and drink the fruit of the vine. As a naturist I am all too aware of threats to liberty and the right to express who I am. Like the turning of the year when we reject the idea of death and affirm life, I reject those who project shame onto me for being naked. For a woman, it can be tough. Men can tend to see your naked body as their property. They see your nakedness as flaunting something which is theirs by right. There is a tendency to sexualise you and see you as a loose woman. I am my own and my body belongs to me. I belong to my husband as much as he belongs to me. The union of naked female and male is a perfect balance of forces. We lean back and our partner supports us. In a great relationship, that balance is effortless and strong. My body then is without shame, perfect and wonderful. There is no need to cover anything. Certainly not my breasts or my vulva. Why would I want to cover or be ashamed of something that brought my precious and beautiful daughter into the world and why would I want to cover the means by which I fed her?

With my husband, we decorate the house for Christmas in a Dickensian fashion. Our house was brand new when it welcomed Christmas in the 1862. Just 19 years before, a 31 year old Charles Dickens published 'A Christmas Carol'. It captured the public's imagination with its depiction of Scrooge and the spirit of the season. Though I don't keep Christmas personally, I support my husband by celebrating this joyful time. Likewise, my husband joins in my celebration of Chag Urim: The Festival of Lights. We will celebrate life, being naked and the joy of being free. Everyone gets one gift for eight nights. This year our two festivals coincide; the first time since 2005. However and whatever you celebrate: The Solstice, Kwanzaa, Chanukah, Christmas, anything else, or just The Season to be Jolly; we wish you the best of times and the most wonderful of holidays.

Since you have read this far, you are almost certainly a naturist or at least naturally inclined. You don't need to read further. Happy Holidays! Please like and repost with our blessing. Do remember however that the text and images remain our copyright. While you go and do that, I have words of warning below the next picture, for others who aren't like us.

For those of you who didn't bother to read or were simply captivated by my naked body, not naturism, I have a new message. I am getting weary of seeing my posts shared on your sexualised blogs. By doing this, you totally misunderstand naturism. Naturism celebrates the naked lifestyle and not just sex. I absolutely adore sex but It is just one beautiful aspect of being naked, not its sole purpose! So from this point onwards, if you have a weird and empty blog with a name like 'hardon1969' or similar; if you just repost naked girls; other naturist's creative work and don't post your own - I may just have to block you, sorry. You will certainly also be blocked if you send sexualised messages and images of one tiny part of you! (you know what I mean) Do me a favour. Get naked in 2025. Post affirmative images of yourself on your blog. Better still, write something inspirational about naturism too. Make sure you also post an avatar that is actually you and not an icon. Be brave, be yourself and enjoy a Bright Nude Year!

Jane x

[sierrawitch]

Celtic Customs: Death

by autumn sierra

In honor of my friend who just recently lost a loved one, and my sister who witnessed a tragic death that she was helpless to prevent, I thought it the proper moment to reflect and write on some Celtic death customs and traditions of remembering passed loved ones.

Scotland

Before burial, the body of recently passed relatives were kept in the home, dressed and in their own beds. Family and friends would throw a celebration in honor of their lives. The Scots view death as an opportunity to both mourn the loss of a soul, but to laugh and be merry in their memory to find balance in contrary. All the furniture in the departed’s home—especially mirrors—would be covered with white linens and everyone would play music, dance, sing, and share stories around the hearth to keep memories alive.

A traditional custom practiced by the older members of the family and community include a plate of salt and a plate of soil laid on the chest of the deceased person. The soil represents the body as a physical vessel, and the salt represent the purity of the soul. It was thought that without this ritual, the ghost would not be able to rest, and would haunt their family.

Another custom was to stay up at night and watch the body, also known as a lykewake. This is now seen as a sign of respect for the deceased, but in olden times people believed that the devil would steal the body of their loved one unless they kept safe watch over it. The youth of the family were given whiskey at the beginning of the night and some tea or beer with bread at some point in the middle of the night, and would take on this responsibility for the family. The watchers would tell stories, reminisce, and sometimes recite verses from the Bible.

It was also considered bad luck to see the body of the recently deceased without touching it. A week of bad dreams would follow unless this superstition was taken seriously.

Our perception of death in the modern world is one of detachment and taboo. Many people are squeamish about even seeing a dead body, much less watching or touching one in the night. But to the Celtic people, death was not a taboo thing which had to be hidden, as it is a natural, inevitable part of being alive.

The pivotal connecting moments of birth and death link the physical and metaphysical worlds to each other. Similar to the thinning of the veil during Samhain, we each witness a thinning of the veil when we are born, and when we die. In death, the spirit of the deceased moves across the veil and into the Otherworld, the lands of gods, sìth (spirits), and the deceased.

Ireland

The Irish are no strangers to pain and loss, having experienced famine, colonization, and poverty over its long history. There are many customs that have been cultivated over generations to venerate and remember the dead which are unique to their culture, but the Irish Wake is one of the most well known funeral traditions around the world.

Most likely giving root to Scottish customs, the tone of an Irish Wake is a time of mourning and celebration. It’s an opportunity to grieve and and honor life as a treasured miracle. Those attending an Irish Wake will participate and music making, singing, and drinking, especially if the deceased was an elderly member of the community, or ill long term. However, in the instance of a young person’s or child’s death, the wakes are much more solemn and respectful of the tragedy. Family and friends meet in the home of the deceased to recount memories together, grieve, and celebrate the life lost.

The exact origins of the Irish Wake are unknown, but it’s believed that it was heavily influenced by elements of Paganism and may have originated with the Ancient Celts. The Celts believed in life after death and thought that when a person died, they then moved onto a better life in the Otherworld. The Ancient Celts saw death only as a means for a new beginning, which is where the festivities come into play.

The Irish Wake incorporates the tradition of watching over the bodies of the deceased, and some say that the term ‘wake’ originates from the Irish tradition. Lit candles were placed closely around the body and tobacco was smoked by male attendees as they stood guard against the potential of the devil seizing the deceased. It was believed that the smoke would help keep malicious spirits at bay and stop the devil from stealing the soul. Clocks were also often stopped at the time of death and mirrors covered to further protect the body, as mirrors can act as portals to other—maybe not so friendly—worlds.

The Afterlife

In ancient Celtic religion, there was a belief in an afterlife in the Otherworld (as mentioned earlier), which is considered almost like a mirror of life on Earth but without disease, pain, and sorrow. This eliminated the aspect of fear when it came to passing on since the soul continues to live following its leaving the head (where it was believed to reside). Prayers were made to the Celtic gods, and sacrifices—both animal and human—food, weapons, and precious items were ritually offered to them to bless and allow safe passage of the deceased to the Otherworld.

The gods played a fairly significant role in the lives of the Ancient Celts as evidenced by their religious practices and the existence of protective amulets and talismans within their tombs. Alongside these, Celtic tombs and burial sites contained a wide range of objects, from tools to jewellery, which prepared the soul for the journey to the Otherworld (similarly to how the Egyptians prepared their deceased for the journey in the Duat).

Cremations & Burials

The Ancient Celts buried the deceased in tombs, and alternatively cremated their bodies, a practice beginning in the early second century. Excarnation was also not uncommon, during which the body was left exposed to the elements for a period and the bones were then either buried or kept for religious ceremony.

Burials of warriors and rulers were often rife with personal belongings and other treasures including weapons, armour, gold jewellery, and even large objects like chariots and waggons. Other common items included tools, extra clothing, grooming equipment, oil lamps, food, drink, eating utensils, and gaming counters, again, in preparation for their journey through the veil.

How do these customs compare to the ones of your culture, and your family?

What is your perception of death in relation to life, and how does it mentally or emotionally affect you?

Are you afraid of death? Why?

If you could personify who or what death is, what would that look like?

I urge everyone to challenge their instilled views of what death is and what it means not only for the people witnessing it, but also for those who go through its process. Many people fear that unknown reality, but it’s something we all share and experience eventually in life. You’re never truly alone. And isn’t that thought a bit comforting?

[boymanmaletheshequel]

A reminder to my fellow daughters and brothers of Helen, of pagan, of Celt, and all other ancient religions, that you don’t need a large, elaborate altar with all the bells and whistles for your deities! I worship and respect so many gods that there is no way realistically that I could ever find the space, or money, to construct altars on the same level of elaboration that I do for my primary gods to whom I am an official devotee to. For example, my altars to Artemis, Demeter, Poseidon, Freyja, and Pan are much, much larger and more intricate than the ones for the other gods who I still worship like Hermes, Brigid, Loki, Hestia, Dionysus, and all the others. It’s ok! They understand, and are appreciative for whatever you give them, even if it isn’t physical, even if it’s just a thought! They love you and they know that you worship them in so many ways, that altars are just one way ti do so out of many. If you do want some ideas for “pocket altars” that don’t take up too much space, lmk and I’ll post some ideas! Love you all, and blessed be your days 💙🏛️💙

[thevirginwitch]

DON'T CALL ME MABON

WHY MABON IS AN INAPPROPRIATE NAME FOR THE AUTUMN EQUINOX

by Anna Franklin

The name ‘Mabon’ as a term for the neopagan festival of the autumn equinox (along with the Saxon term ‘Litha’ for the summer solstice) was introduced in 1973 by the American witch and writer Aiden Kelly (b. 1940). His blog for 21st September 2012 explains:

“Back in 1973, I was putting together a “Pagan-Craft” calendar—the first of its kind, as far as I know—listing the holidays, astrological aspects, and other stuff of interest to Pagans. It offended my aesthetic sensibilities that there seemed to be no Pagan names for the summer solstice or the fall equinox equivalent to Ostara or Beltane—so I decided to supply them… I began wondering if there had been a myth similar to that of Kore in a Celtic culture. There was nothing very similar in the Gaelic literature, but there was in the Welsh, in the Mabinogion collection, the story of Mabon ap Modron (which translates as “Son of the Mother,” just as Kore simply meant “girl”), whom Gwydion rescues from the underworld, much as Theseus rescued Helen. That’s why I picked “Mabon” as a name for the holiday…” bd

Curiously, his own tradition, the New Reformed Orthodox Order of the Golden Dawn, did not follow him in this and instead called the autumn equinox ‘Rites of Eleusis’.  However, the term took off and was used in many American books, and by extension, the readers of those books in the UK and elsewhere.

The association of the god Mabon with the festival is certainly not an ancient or traditional despite the claims in various books and websites where you might read ‘the Celts celebrated the god Mabon on this date’.

In order to see why the name of Mabon for the autumn equinox is an inappropriate one we need to examine the tales of Mabon.

The Celtic God Maponius

There is certainly a Celtic god whose title was Latinized as Maponus, which is not an actual name but means something like ‘divine son’. He is known from a number of inscriptions in northern Britain and Gaul in which he is addressed as ‘Apollo Maponus’ identifying him with the Graeco-Roman sun-god Apollo. Like Apollo, all the evidence suggests that he was a god of the sun, music and hunting – significantly, he was not a god of the harvest or of the corn.

It is not known whether he was widely worshipped before the coming of the Romans, but with them his cult spread along Hadrian’s Wall amongst the Roman soldiers stationed there. Several stone heads found at the Wall are identified as representing Maponus.

He was also known in Gaul where he was invoked with a Latin inscription at Bourbonne-les-Bains, and on a lead cursing tablet  discovered at Chamalières, Puy-de-Dôme where he is invoked along with Lugus (Lugh) to quicken underworld spirits to right a wrong. 

It is possible that there are some place names associated with him, such as Ruabon in Denbighshire, which may or may not be a corruption of Rhiw Fabon, meaning ‘Hillside of Mabon’. be During the seventh century an unknown monk at the Monastery at Ravenna in Italy compiled what came to be called The Ravenna Cosmography, which was a list of all the towns and road-stations throughout the Roman Empire. It lists a Locus Maponi (‘place of Maponus’) which has been tentatively identified with the Lochmaben stone site.

It is possible that Mabon’s Irish equivalent is the god Aengus, also known as the Mac Óg (‘young son’).

 Literary Sources

A character called Mabon is found as a minor character in the Mabinogion, a collection of eleven – sometimes twelve – Welsh prose tales from the Middle Ages. He is called Mabon ap Modron, meaning ‘son of the mother’, which has led to speculation that his mother Modron (‘mother’) may be cognate with the Gaulish mother goddess Matrona. There are no inscriptions dedicated to her from ancient times, so this cannot be verified. Whether or not the Mabinogion tale of the hero Mabon stems from a thousand year old story of the god Maponus is uncertain, but since the stories contain the names of other known Celtic gods (transliterated into heroes) it is certainly possible.

The Mabinogion is a collection of medieval Welsh stories which would have been recorded by Christian monks. They don’t seem to have been very widely known until they were translated into English in 1849 by Lady Charlotte Guest, who invented the title Mabinogion since each of the four branches ends with the words “so ends this Branch of the Mabinogi”. In Welsh, mab means ‘son’ or ‘boy’ or ‘youth’, so she concluded that mabinogi meant ‘a story for children’ and (erroneously) that mabinogion was its plural.  Another possibility is that it comes from the proposed Welsh mabinog meaning something like ‘bardic student’.   

The stories now included in the Mabinogion are found in two manuscripts, the older White Book of Rhydderch (c.1300–1325) and the later Red Book of Hergest (c.1375–1425) and Lady Charlotte Guest used only the latter as her source, though later translations have drawn on both books.

The first four tales, called The Four Branches of the Mabinogi, are divided into Pwyll, Branwen, Manawydan and Math and each of these includes the character Pryderi. The Mabinogion scholar W.G.Gruffydd suggested that the four branches of the collection represent the birth, exploits, imprisonment and death of Pryderi.

Mabon is mentioned in the Mabinogion story of The Dream of Rhonabwy in which he is described as one of the King’s chief advisors and fights alongside him at the Battle of Badon. His biggest role comes in the story of Culhwch and Olwen (originally from White Book of Rhydderch). In it is the only known reference to Olwen, and Mabon is still a very minor character in the story. One task of the heroes is to search for Mabon ap Modron, who was imprisoned in a watery Gloucester dungeon. Arthur’s cousin Mabon had been taken from his mother Modron when he was only three nights old, and no one knew whether he was alive or dead. After asking the oldest animals,  they were finally directed to the oldest creature of all: the great Salmon of Llyn Llyw. The salmon recalled hearing of Mabon, and told them that as he swam daily by the wall of Caer Loyw, he heard a constant lamentation. The salmon took Cei and Gwrhyr upon his back to the castle, and they heard Mabon’s cries bewailing his fate. Mabon could not be ransomed, so seeing that force was the only answer, the knights fetched Arthur and his war band to attack the castle. Riding on the salmon’s back, Cai broke through the wall and collected Mabon, both fleeing on the back of the salmon.

Let us suppose for a moment that the god Maponus and the literary hero Mabon are one and the same. We must remember that all the evidence points to Maponus being the young sun god, his youth meaning that he would represent the morning sun or the sun newly reborn after the winter solstice. His theft from his mother after three days would make sense in this light – the three days being the three days the sun stands still at the winter solstice. The imprisonment of the young god underground equates to the sun in the underworld before he is ‘released’ to begin his reign as the new sun. In Culhwch and Olwen, Mabon is said to be imprisoned inside a tower in Gloucester, from which he is freed by Cei and Bedwyr. The ‘missing sun’ or ‘imprisoned sun’ is a premise found in the solar myths of many cultures to explain the night or the shorter days of winter, especially those around the three days of the winter solstice. Such tales often include themes of captivity or the theft of the sun (i.e. the god or object that represents it) and its rescue by a band of heroes, such as Jason and the Argonauts rescuing the Golden Fleece (the sun) from the dragon or the Lithuanian sun goddess Saule, was held in a tower by powerful king, rescued by the zodiac using a giant sledgehammer, or the Japanese sun goddess Amaterasu hiding in a cave.

An earlier source that mentions Mabon is the tenth century poem Pa Gur, in which Arthur recounts the great deeds of his knights in order to gain entrance to a fortress guarded by Glewlwyd Gafaelfawr. In this, Arthur describes Mabon fab Madron as one of his men and says that Mabon is a servant of Uther Pendragon. A second Mabon is mentioned, Mabon fab Mellt (‘Mabon Son of Lightning’) and this is interesting, since the sky/storm god is often the father of the sun god in myth, as Zeus is the father of Apollo.

Mabon defeats the monstrous boar, and in myth the boar is often a symbol of winter and the underworld, just as the sun after the winter solstice defeats winter. Mabon then is the divine sun-child born at the winter solstice and this is his festival – he is not the aged god of the harvest or the seed in the ground as Kore is in Greek myth. As Sorita d’Este says:

“Honour Mabon as a Wizard, a Merlin type figure, as the oldest of men and beasts, honour him as the Son of the Mother, and a hero – don’t take that away from him by ignorantly using his name as if it is a different word for Autumn Equinox.  If you really believe that the Old Gods of these lands still live, that they should be honoured and respected, then do that.  Don’t join the generations who tried to belittle the Gods in an effort to diminish their power.”[1]

© Anna Franklin, The Autumn Equinox, History, Lore and Celebration, Lear Books, 2012

[historia-vitae-magistras]

I think Arthur’s origins are just soooo interesting! Especially his mother’s ties to the land - and then passing along to him and his brothers. I wonder if Arthur was a surprise to her? She already had 3 children in that time, what could another mean for her? What would raising 4 immortal children be like whilst also fending off invaders?

The usual caveat when I'm this far back into history and have to use archaeology and just general story telling to fill in detail: this is not a history book but perhaps just better informed than average historical fantasy.

I think Arthur was a surprise! And he’s a very welcome one at first. Her first three children are columns holding up her power. Brigantia was either a confederation of tribes united under a more powerful ruler or a series of clans and septs that just spread really far and got really important with an unusual amount of centralization by the time of the Romans. We’re not exactly sure. But, the Celts both on the continent and in Britain and Ireland had a very long tradition of hostage taking as political control. Brigantia’s hold on eastern Ireland, southern Scotland, and a nebulous area of England and Wales could have been very artificial and based upon holding her children. And hostage taking need not have been the only form of this purposeful political organization of their family life. Welsh, Scottish and especially Irish writings detail fosterage to raise children in other’s households as a way to create otherwise very rare political stability amongst the numerous tribes and petty kingdoms that otherwise defined political life in Iron Age Europe.

When Arthur first comes into being, she could have easily interpreted his existence as a sign she would soon be able to exert more power and create more social control over the more fertile parts of the island she can feel. Perhaps the Roman conquest of Gaul and the subsequent refugees will destabilize Britain just enough for her to campaign into the south and bring more land into Brigantia. She’s probably having a torrid affair with her neighbors in Yorkshire when the Parisii appeared and have links to the same culture that will give Paris its name. We don’t know how accurate the Roman accusations of how the Iron Age Britons practiced human sacrifice actually were but nonetheless, sacrifice and worship is powerful and there are many more people in the south who’s belief and blood could flow into her as power. The channel protects her southern neighbors and Rome was defeated by the those same neighbors the one time they crossed. And she is far more fearsome than they are, surely.

Her three eldest children aren’t entirely sure what their original relationship to her may have been but its also not something that bothers them overly much. Mother was a Celt at least by the end of her life, they speak Celtic languages. The mechanics are complicated but the results, at least to them, were not. Brighid especially had more of a mentor/menteé relationship with Eirian but she has no real issue with it being a mother/daughter bond. Eirian could have just been young enough with her first child that they had a more equal dynamic. But regardless of the specific circumstance with she acquired her first three children, they were very purposeful acquisitions. The ancient world understood everything to have a spirit. In her mind it would make more sense to have a child for every field and tree and spring and tribe but I’ve gotta limit characters somewhere so its usually just easier to write leaving large gaps where the historical accuracy could actually be lmao.

At the advent of the Roman invasion, they are a family of the same structure as are found in a wide range of ritual deposits that contain human remains and I’ve kind of borrowed from the concept. We don’t know what this significance was to the people who practiced the religions that deposited these bodies and bones but there seems to have been some relationship to fertility. The pattern seems to be one older adult, one young adult, an adolescent, a child and an infant.

One older adult: Eirian has been chilling since the Bronze age and might have initially made a solid base for herself as the primary tin dealer on the island. One younger adult: Brighid is nearly grown in the 1st century as she pops up around when the Celtic cultures of Iron Age Ireland form as La Tène culture explodes into importance. One adolescent: Alasdair is 12-13 and the ancient version of a lego kid as dry stone building and new technology seem to coincide with La Tène culture as well but with somewhat later adoption of bronze and iron and the curving art so he gets a date a little more in line with the Pictish art style coming into being. One child: Rhys appears about 5-6. He comes into being as a geographic distinction centered around the mountains between Wales and the rest of the country that to develop some kind of distinction in the material culture. One infant: Arthur is born just before the Roman invasion, as a new identity culture in Britain seems to form around new developments like coins, a move towards proto-towns and a seeming intensity in the archaeological record of an obsession with heads perhaps in response to Roman religious practices or just general upheaval.

When she’s raising these children, one already grown, one mostly there, two quite young its really a demonstration of both her pride, some arrogance, a whole ocean of realpolitik and the ability of Rome to grind her down over time.

Not long after Arthur is born, Eirian and the personification of Parisii I have yet to name but who gets a summer home in Yorkshire in the Iron Age (the Parisii of Yorkshire seem to be an offshoot of the Paris-Parisii) are sucking and fucking. They are both new mothers, Parisii for the first and only time, Eirian for the 4th and last time. Parisii moves back across the channel to her native territory when the Romans win. Francis’ ‘actual’ father is less her speed and she takes the opportunity given to her by the Roman invasion of Gaul to strike a deal with Lucius. She becomes one of his favorite mistresses and her boy one of his favourite ward/pseudo-stepchildren. Parisii tells Eirian if she was smart she'd just take Lucius up on claiming legal paternity of her two youngest sons. After-all, nothing is permanent.

Eirian absolutely fucking refuses. Lucius is not overly frustrated by this at first and justifies himself as no good Roman would take a child from the breast of a she-wolf. He’s content with a pragmatic half-defeat in the beginning, leaving Brigantia and Eirian as a semi-independent client kingdom. She’s fairly adept at keeping that for a long time and Lucius is patient, not immediately forcing her to hand her children over even when she quietly supports the resistance in Wales. But when Wales is largely pacified and the power centers of the Druids are largely gone, she might have ultimately betrayed the father of her third son and sent him packing to Rome to preserve her and the children’s independence. But whatever happens, the direct invasion of her lands begins. She loses most of her autonomy and the Romans become invaders on her land rather than neighbors she can have her do her bidding. Hadrian's wall goes up. She is forced to cut a deal with Lucius so that he can educate her two youngest sons as they age, with some kind of established legal relationship, perhaps fostering or wardship. Soon, he will set his sights on her firstborn.

And I'm going to stop there because I am about to speed run the entirety of Roman Britain and it is dinner time but she Boudicca on my destruction until I horizon.

[mask131]

The gods of Gaul: Introduction, or why it is so hard to find anything

As I announced, I open today a series of post covering what some can call the "Gaulish mythology": the gods and deities of Ancient Gaul. (Personal decision, I will try avoiding using the English adjective "Gaulish" because... I just do not like it. It sounds wrong. In French we have the adjectif "Gaulois" but "Gaulish"... sounds like ghoulish or garrish, no thank you. I'll use "of Gaul", much more poetic)

[EDIT: I have just found out one can use "Gallic" as a legitimate adjective in English and I am so happy because I much prefer this word to "Gaulish", so I'll be using Gallic from now on!]

If you are French, you are bound to have heard of them one way or another. Sure, we got the Greek and Roman gods coming from the South and covering up the land in temples and statues ; and sure we had some Germanic deities walking over the rivers and mountains from the North-East to leave holiday traditions and folk-beliefs... But the oldest gods of France, the true Antiquity of France, was Gaul. And then the Roman Gaul, and that's already where the problems start.

The mythology of Gaul is one of the various branches of the wide group known as Celtic mythology or Celtic gods. When it comes to Celtic deities, the most famous are those of the British Isles, due to being much more preserved (though heavily Christianized) - the gods of Ireland and the Welsh gods are typically the gods every know about when talking about Celtic deities. But there were Celts on the mainland, continental Celts - and Gaul was one of the most important group of continental Celts. So were their gods.

Then... why does nobody know anything about them?

This is what this introduction is about: how hard it actually is to reconstruct the religion of Gaul and understand its gods. Heck we can't ACTUALLY speak of a Gaulish mythology because... we have no myth! We have not preserved any full myth or complete legend from Ancient Gaul. The pantheon of Gaul is the Celtic pantheon we probably know the least about...

Why? A few reasons.

Reason number one, and the most important: We have no record of what the Gauls believed. Or almost none. Because the people of Gaul did not write their religion.

This is the biggest obstacle in the research for the gods of Gaul. It was known that the art of writing was, in the society of Gaul, an elite art that was not for the common folks and used only for very important occasions. The druids were the ones who knew how to read and write, and they kept this prerogative - it was something the upper-class (nobility, rulers) could know, but not always. Writing was considered something powerful, sacred and magical not to be used recklessly or carelessly. As a result, the culture of Gaul was a heavily oral one, and their religion and myths were preserved in an oral fashion. Resulting in a great lack of written sources comng directly from the Gallic tribes... We do have written and engraved fragments, but they are pieces of a puzzle we need to reconstruct. We have votive offerings with prayers and demands inscribed on it - and while they can give us the names of some deities, they don't explain much about them. We have sculptures and visual representations of the deities on pillars and cups and jewels and cauldrons - but they are just visuals and symbols without names. We have calendars - but again, these are just fragments. We have names and images, and we need to make sense out of it all.

To try to find the explanations behind these fragments, comparisons to other Celtic religions and mythologies are of course needed - since they are all branches of a same tree. The same way Germanic mythology can be understood by looking at the Norse one, the same way Etruscan, Greek and Roman mythologies answer each other, the mythology and religion of Gaul has echoes with the Celtic deities of the Isles (though staying quite different from each other). The other comparison needed to put things back into context is reason number 2...

Reason number two: The Romans were there.

Everybody knows that the death of Ancient Gaul was the Roman Empire. Every French student learns the date of Alesia, the battle that symbolized the Roman victory over the Gallic forces. Gaul was conquered by the Romans and became one of the most famous and important provinces of the Roman Empire: it was the Gallo-Roman era.

The Romans were FASCINATED by Gaul. Really. They couldn't stop writing about them, in either admiration or hate. As a result, since we lack direct Gallic sources, most of what we know about Ancient Gaul comes from the Romans. And you can guess why it is a problem. Some records of their religion were written in hatred - after all, they were the barbarian ennemies that Romans were fighting against and needed to dominate. As such, they contain several elements that can be put in doubt (notably numerous references to brutal and violent human sacrifices - real depictions of blood-cults, or exaggeratons and inventions to depict the gods of Gaul as demonic monstrosities?) But even the positive and admirative, or neutral, records are biased because Romans kept comparing the religion of the Gauls to their own, and using the names of Roman deities to designate the gods of Gaul...

Leading to the other big problem when studying the gods of Gaul: the Roman syncretism. The Gallo-Roman era saw a boom in the depictions and representations of the Gallic gods... But in their syncretized form, fused with and assimilated to the Roman gods. As such we have lots of representations and descriptions of the "Jupiter of Gaul", of the "Mercury of Gaul", of the "Gallic Mars" or "Gallic Minerva". But it is extremely hard to identify what was imported Roman elements, what was a pure Gallic element under a Roman name, and what was born of the fusion of Gallic and Roman traditions...

Finally, reason number three: Gaul itself had a very complicated approach to its own gods.

We know there are "pan-gallic" gods, as in gods that were respected and honored by ALL the people of Gaul, forming the cohesion of the nation. But... Gaul wasn't actually a nation. It was very much like the many city-states of Greece: Ancient Gaul was unified by common traditions, a common society, a common religion and a common language... But Gaul was a tribal area divided into tribes, clans and villages, each with their own variations on the laws, each with their own customs and each with their own spin on religion. As a result, while there are a handful of "great gods" common to all the communities of Gaul, there are hundreds and hundreds of local gods that only existed in a specific area or around a specific town ; and given there were also many local twists and spins on the "great gods", it becomes extremely hard to know which divine name is a local deity, a great-common god, a local variation on a deity, or just a common nickname shared by different deities... If you find a local god, it can be indeed a local, unique deity ; or it can be an alternate identity of a shared divine archetype ; or it can be a god we know elsewhere but that goes by a different name here.

To tell you how fragmented Gaul was: Gaul was never a unified nation with one king or ruler. The greatest and largest division you can make identifies three Gauls. Cisalpine Gaul, the Gaul located in Northern Italy, conquered by the Romans in the second century BCE, and thus known as "the Gaul in toga" for being the most Roman of the three. Then there was the "Gaul in breeches" (la Gaule en braies), which borders the Mediterranean sea, spanning between the Alps and the Pyrenean mountains, and which was conquered in the 117 BCE (becoming the province of Narbonne). And finally the "Hairy Gaul", which stayed an independant territory until Cesar conquered it. And the Hairy Gaul itself was divided into three great areas each very different from each other: the Aquitaine Gaul, located south of the Garonne ; the Celtic Gaul located between the Garonne and the Marne (became the Gaul of Lyon after the Roman conquest) ; and finally the Belgian Gaul, located between the Marne and the Rhine. And this all is the largest division you can make, not counting all the smaller clans and tribes in which each area was divided. And all offering just as many local gods or local facets of a god...

And if it wasn't hard enough: given all the sculptures and visuals depictions of the gods of Gaul are very "late" in the context of the history of Gaul... It seems that the gods of Gaul were originally "abstract" or at least not depicted in any concrete form, and that it was only in a late development, shortly before the Roman invasions, that people of Gaul decided to offer engravings and statues to their gods, alternating between humanoid and animal forms.

All of this put together explains why the gods of Gaul are so mysterious today.