#bendigeidfran

[birdsofrhiannon]

Branwen, daughter of Llyr by Margaret Jones

[theflytingfox]

Bendigeidfran courtesy of MidJourney AI Bot (Discord)

[oespiritocelta]

Mitologia - País de Gales

A maior fonte de informação sobre a mitologia do País de Gales vem do livro Mabinogion, que alguns estudiosos acreditam ser fragmentos da mitologia celta galesa, em especial as primeiras histórias, conhecidas como Os Quatro Ramos do Mabinogion.

Primeiro Ramo:

Arawn: Arawn (Araun) é o rei do outro mundo na mitologia galesa (Annwn). Ele é um grande caçador e mágico habilidoso em mudar de forma.

Pwyll: Pwyll (Púil) é o rei de Dyfed, marido de Rhiannon e pai de Pryderi. Seu nome quer dizer "bom senso".

Rhiannon: Rhiannon é uma mulher do Outro Mundo, inteligente, bela e famosa por sua generosidade. Com Pwyll ela tem um filho, Pryderi e como viúva ela se casa com Manawydan. Rhiannon significa "grande rainha" e ela é considerada uma deusa da soberania, autoconfiança e resiliência. Como uma figura importante, ela aparece no Primeiro e no Terceiro Ramos.

Pryderi: Pryderi (Pridéri) é filho de Pwyll e da deusa Rhiannon. Ele é o único herói a aparecer em todos os quatro Ramos. Seu nome significa "cuidado, preocupação".

Segundo Ramo:

Branwen: Branwen é casada com o rei da Irlanda, Matholwch e algumas pessoas acreditam que ela seja uma deusa do amor e da beleza. Seu nome significa "corvo branco".

Bendigeidfran: Bendigeidfran (Bendigueidvran) é o gigante rei da Grã-Bretanha e irmão de Brânwen e Manawydan. Seu nome é geralmente traduzido como "corvo abençoado". Quando estava morrendo, Bendigeidfran ordenou que seus seguidores cortassem sua cabeça e a enterrassem sob onde hoje fica a Torre de Londres como um talismã para proteger a Grã-Bretanha de invasões estrangeiras. Hoje em dia, na Torre de Londres, há um grupo de corvos cativos que se acredita protegerem a Coroa e a Torre.

Manawydan: Manawydan (Manauídan) é irmão de Branwen e Bendigeidfran. Ele é associado com o deus dos mares irlandês Manannán mac Lir. As aparições mais importantes de Manawydan ocorrem no Segundo e Terceiro Ramos do Mabinogion.

Quarto Ramo:

Arianrhod: Arianrhod (Arianród) é a deusa do cosmos e do destino. Seu nome significa "roda de prata", simbolizando a lua e/ou a roda que tece o destino. No Mabinogion, ela é mãe de Lleu Llaw Gyffes. Na mitologia galesa, a constelação Corona Borealis é chamada de Caer Arianrhod (o Castelo de Arianrhod).

Lleu Llaw Gyffes: Lleu Llaw Gyffes (Lei Lau Guifes) é filho de Arianrhod. Ele foi negado de um nome, armas e uma esposa, mas seu tio Gwydion forneceu-lhe tudo com truques. Seu nome quer dizer “o de cabelos claros com mãos habilidosas” e ele é visto como o equivalente do deus irlandês Lugh.

Blodeuwedd: Blodeuwedd (Blodêiued) é a esposa de Lleu Llaw Gyffes, feita de flores pelos mágicos Math e Gwydion e que se transforma em uma coruja no final do conto. Seu nome significa "rosto de flor" e ela é considerada deusa da beleza, inteligência e independência.

Outras Histórias:

Ceridwen: Ceridwen (Queríduen) é uma feiticeira que aparece na versão mítica da vida do verdadeiro bardo Taliesin. Ela é considerada uma deusa da inspiração, da memória e do tempo.

Awen: Awen (Auen) é uma palavra galesa que quer dizer "inspiração". É junção da inspiração divina com a imaginação, é o que faz o ser humano compreender o significado e a profundidade das coisas. Awen é a poção que Ceridwen prepara em seu caldeirão cuja apenas as três primeiras gotas concedem conhecimento infinito. 

Annwn: Annwn, (Anúven) é o Outro Mundo na mitologia galesa. Governado por Arawn, é um mundo adjacente ao nosso; entre os dois mundos não existem fronteiras, apenas a consciência de uma nova dimensão. Annwn é um mundo sem doenças e com comida sempre abundante.

[eruscreaminginthedistance]

Category 5 autism moment in Caerdydd tonight as local Mabinogi fangirl explodes at Cymraeg production of Branwen, injuring hundreds

[paintandpensandyarn]

I did a digital painting of Myfanwy

[becausegoodheroesdeservekidneys]

Cwestiwn Cymraeg, if you fancy it:

Why do place names do treiglo but people’s names don’t?

Ah! Classical names do! Consider: Brân in the second branch of the Mabinogi is also known as Bendigeidfran. If I were to give something to my sibling in law I would say 'rhoi i Gwydion', but if I were to give it to the ancient mythical mage in the fourth branch, I would 'rhoi i Wydion'. You would do treiglo on Blodeuwedd.

In modern Welsh, if you do treiglo on someone's name, it indicates that you're talking about like... a random person of that name. In modern Welsh if I 'rhoi i Wydion' I am giving the thing to a Gwydion of unknown providence, rather than the specific member of my family that I know and am trying to give a thing.

"Fi'n mynd i weld Steffan a Cerys" - I am going to see Steffan and Cerys, my treasured friends

"Fi'n mynd i weld Steffan a Cherys" - I am going to see my treasured friend Steffan, and also a random woman called Cerys, any Cerys will do

I personally do this all the time because I find it very funny

[wanderingsorcerer]

CELTIC FOLKLORE&MYTHOLOGY 101

The Celts have a rich and beautiful history but one that is filled with many sorrows as well. From the invasion of the Roman Armies , to the forced conversion to christianity. Many of what we know now about the pre-colonization of the celtic people are through the "surviving" stories written by the Romans which occupied the lands and later the christian scribes of the middle ages. Some myths have only survived as stories passed down through Oral Traditions. Or through adopting Christian Attributes.

But even then, what has survived is but a mere fraction of what used to be, most surviving Celtic mythology belongs to the Insular Celtic peoples (the Gaels of Ireland and Scotland; the Celtic Britons of western Britain and Brittany).  When it comes to written folklore and mythologies  of the celtic people, the Irish have the largest written myths in the region only seconded by the written Welsh mythologies.

Today we will be focusing mainly on the Irish and Welsh Folklore and Mythology

Below I will list some of the names of the deities and spirits found throughout the Irish Folklore and Mythos

Morrigan- Shape shifting Goddess Who Hovered over the battlefields as a crow or raven

Danu- Irish Mother Goddess

Dagda-Irish God Of Life and Death as well as Magick, Married to Morrigan

Brigid - Celtic Goddess of Fire, Poetry, Cattle and patroness of smiths

Arwan- God of the Celtic underworld

Taranis- God Of Thunder

Excerpt from wikipedia

IRISH MYTHOLOGY The myths are conventionally grouped into 'cycles'. The Mythological Cycle, or Cycle of the Gods, consists of tales and poems about the god-like Túatha Dé Danann and other mythical races.[6] Many of the Tuath Dé are thought to represent Irish deities. They are often depicted as kings, queens, druids, bards, warriors, heroes, healers and craftsmen who have supernatural powers.  Prominent members of the Tuath Dé include The Dagda ("the great god"), who seems to have been the chief god; The Morrígan ("the great queen" or "phantom queen"), a triple goddess associated with war, fate and sovereignty; Lugh; Nuada; Aengus; Brigid; Manannán; Dian Cecht the healer; and Goibniu the smith, one of the Trí Dé Dána ("three gods of craft"). Their traditional rivals are the monstrous Fomorians (Fomoire), whom the Tuath Dé defeat in the Cath Maige Tuired ("Battle of Moytura").  Other important works in the cycle are the Lebor Gabála Érenn ("Book of Invasions"), a legendary history of Ireland, and the Aided Chlainne Lir ("Children of Lir"). WELSH FOLKLORE & MYTHOLOGY Important reflexes of British mythology appear in the Four Branches of the Mabinogi, especially in the names of several characters, such as Rhiannon, Teyrnon, and Brân the Blessed (Bendigeidfran, "Bran [Crow] the Blessed"). Other characters, in all likelihood, derive from mythological sources, and various episodes, such as the appearance of Arawn, a king of the Otherworld seeking the aid of a mortal in his own feuds, and the tale of the hero who cannot be killed except under seemingly contradictory circumstances, can be traced throughout Proto-Indo-European mythology. The children of Llŷr ("Sea" = Irish Ler) in the Second and Third Branches, and the children of Dôn (Danu in Irish and earlier Indo-European tradition) in the Fourth Branch are major figures, but the tales themselves are not primary mythology. While further mythological names and references appear elsewhere in Welsh narrative and tradition, especially in the tale of Culhwch and Olwen, where we find, for example, Mabon ap Modron ("Divine Son of the Divine Mother"), and in the collected Welsh Triads, not enough is known of the British mythological background to reconstruct either a narrative of creation or a coherent pantheon of British deities. Indeed, though there is much in common with Irish myth, there may have been no unified British mythological tradition per se. Whatever its ultimate origins, the surviving material has been put to good use in the service of literary masterpieces that address the cultural concerns of Wales in the early and later Middle Ages.

The celtic traditions and their pagan Practitioners in the modern age.

One example of the modern practitioners which have celtic roots as a basis for their religion would be the New Druidic Movement of the 21st Century.

Born from the need of many who wish to delve deeper into their roots they've taken the historical context of the original druids of the Iron Age and have matched it closer with new age spirituality.

Druid~

The Old Irish form was "drui", and in Modern Irish and Gaelic the word is "draoi" or "druadh" (magician, sorcerer). 

These New Druids take inspiration from the mythologies from all around the celtic regions, Ireland , Scotland, wales , Britannia. And brings them together to create what is now the new Druidic Order.

They are primarily animistic , ( All things in nature hold a spirit) and the majority of druids in this new order are also polytheistic. They hold Great Reverence towards the spirits of the land and the magick of the land of their ancestral Homeland.

Antiquity Does not mean authenticity, things don't need to be ancient in order for them to feel powerful and tangible to the practitioner. Druids as a living practice is an extension of the culture of the celtic people.

And as such it is not claiming to be the druids of the past, (as we have very little information on their practices and how they lived.) But as a cultural movement they strive to be the stewards of Folklore and Folk practices for the coming generations.

If you would like to learn more on the Druidic Faith and the nuances of specifically WELSH Druidic Faith take this course into consideration from the Anglesey Druidic order

Welsh Celtic Witchcraft

This is honestly something which holds great value in learning more about as it pertains to the extension of knowledge outside Of the perceived Celtic Belief Systems,

In Welsh folk practices , Witches and Magickal practitioners were apart of daily life , Healer and wise woman whose power was said to come from Magickal Tomes which held spirits of demons and fairies inside.

Folk practices in Wales include the CURSING WELLS Ffynon Elian, Fairy Mounds .

A Great many different curses passed down from family to family, a famous Curse going around the internet is the One In Which a woman who is angered pulls out their TIT and Curses a man To Meet an Untimely Demise. Don't worry they usually deserved it.

There are so many beautiful and wonderful Folk Practices in Wales and Celtic practices in which I can't cover here but if you want to learn more and have a vested interest in the occult practices of other cultures give me a follow.

For more information on Wales Folklore in Video Format Visit The Below Youtube Channel :)

And if you would like to support the above Practitioner Mhara Starling I will link their book Here for Purchase. They go in depth on the folklore and occult practices of the Welsh people

[bioluminescent-fungus]

my favorite Arthur moment is a pretty obscure one so it makes sense that I've never seen it in an adaptation but please allow me to share:

The Head of Bendigeidfran, son of Llŷr, which was concealed in the White Hill in London, with its face towards France. And as long as it was in the position in which it was put there, no Saxon Oppression would ever come to this Island; […] And Arthur disclosed the Head of Bendigeidfran (Brân the Blessed) from the White Hill, because it did not seem right to him that this Island should be defended by the strength of anyone, but by his own.

the hubris! the folly! it's so crunchy and I love him

[wildbasil]

hello friends! please participate in my very important and scientific poll to determine who in welsh mythology is the most ✨tumblr sexyman✨

if you have no idea who they are, choose whoever calls to you. whoever gives off the most sexyman vibe 👀

Part 1 Part 2

[branwendaughterofllyr]

White Ravens, Winter Roses - Part Two

Branwen releasing her starling by Margaret Jones

Having gone over the parallels between Branwen, Lyanna, and Sansa, I want to discuss how the actual story of Branwen ferch Llyr shares some of the same themes as ASOIAF

Branwen ferch Llyr is rife with terrible violence, particularly against innocents. The catalyst that sets off the tragedy is the deeply brutal mutilation of Matholwch’s horses by Efnysien.

Then he went for the horses, and cut their lips to the teeth, and their ears down to their heads, and their tails to their backs; and where he could get a grip on the eyelids, he cut them to the bone. And in that way he maimed the horses, so that they were no good for anything.

The Mabinogion tr. Sioned Davies

What, after all, beyond that violent act at its genesis, was Branwen’s story about? Was this a Welsh-Irish Romeo and Juliet? Star-crossed lovers at the mercy of tribal prejudice? Or was this a tale of a beautiful woman suffering at the hands of the very men who should have been protecting her? Or was this story not about Branwen at all, but actually a cautionary tale about the cyclical nature of atrocity? A lesson in how violence will beget violence in an ever more terrible spiral of destruction?...For me, a lens of 2009 brought me zooming in once again upon Efnysien’s act of violence and also upon Matholwch’s ‘reply’ to that insult – his own excessive and displaced punishment of Branwen upon the couple’s return to Ireland. These beats of the myth struck a strong contemporary note with me, although at first I couldn’t work out exactly what that note was. It was something to do with the unreasonableness of these men’s actions, the excessive nature of their physical and emotional violence and the nihilistic resonance it left in its wake. -Owen Sheers

‘Oh son of God,’ she said, ‘woe that I was ever born. Two good islands have been laid waste because of me!’ She gives a mighty sigh, and with that her heart breaks. And they make a four-sided grave for her and bury her there on the banks of the Alaw. The Mabinogion tr. Sioned Davies. 

The fundamental conflict of the Second Branch of the Mabinogion cycle of violence begetting violence, spiraling out to ruin the lives of everyone it touches.  

Matholwch is egged on by his men to avenge the insult, and he does so by punishing the innocent Branwen, who is alone and a foreign land and dependent on her husband. He does this, even after Branwen’s brother Bran the Blessed has done the he can to pay Matholwch’s honour price, giving him the legendary cauldron of life itself. 

What is fascinating to me, that despite all the fantastical elements of the story, the human aspects shine through. Jealous Efnysien, who must always cause others to share his unhappiness by destroying violently what is precious to them. Wise but long suffering Bran the Blessed, who loves his sister and honors his responsibilities to his family. Branwen and her despair- there is very little mention of her happiness, even during her marriage which is celebrated by her brother and husband. The main emotion that follows her is sorrow and grief. Matholwch’s human flaws are what cause him to punish his innocent wife. It is the shame of his insult spreading throughout Ireland, and the pressure from his men that cause him to act. In the end, no one is happy, and both Branwen and Bendigeidfran die, and Ireland is left a ruin. 

ASOIAF, for all it’s magic and prophecies, is also driven by humanity of its characters. The tragedy of self fulfilling tragedies that permeate the series has closer links to the Arthurian Romances and Greek tragedies, but I think the extremes of cruel violence and attempts at restitution and even forgiveness are closer to the Welsh tradition, especially the story of Branwen ferch Llyr. There are moments when it seems that crisis will be averted. Bendigeidfran sits with Matholwch after the mutilation of his horses, asks what compensation would make him happy. Branwen, even after three years as a servant and being struck daily, advises her brother in her letters that it should still not come to war, even after all she has suffered, for she knows what war would do to the land. And the war is terrible, and no one truly wins in the end, and even the great cauldron is destroyed. It feels similar to the Dance of the Dragons in Westerosi history, when the civil war is finally over, and just about everyone who began the conflict is dead. The War of the Five Kings saw all but one of the five die, along with their families and allies, and the story isn’t even over yet. 

The innocent horse being mutilated for no other reason to satisfy someone's anger reminds me of the deaths of Lady and Mycah, both innocents punished by vengeful people, despite committing no crimes. The incident at the Trident is a microcosm of the wrongs done through out the rest of the books, something which I think was very intentional. Both Arya and Sansa still carry the scars of that day, and Ned greatly regretted it, and not doing more to prevent it. 

The Arthurian mythos is descended from these earlier Welsh myths, but are influenced by the later French Romantic and chivalric traditions and other literary movements. ASOIAF has many direct ties to Arthuriana, but in many ways is more a critique and deconstruction. I think that it has a lot in common with the Mabinogion, particularly in it’s unabashed reckoning with violence. (that's not to say Arthuriana doesn’t have similar moments, just that it’s less graphic, and... just different.) 

It’s just that the personal conflicts creating political conflicts that devastate everyone that feels very ASOIAF to me. Other parts of the Mabinogion are much more fantastical, and less.. personal? More reliant on expected tropes? Or more allegorical? I think I can write about Blodeuwedd in another post, but Branwen ferch Llyr as a story feels like an ancestor to ASOIAF in many ways. 

This is less of character meta now and more me ruminating about ASOIAF and the Mabinogion. GRRM has said that the only thing worth writing about is the human heart in conflict, and I think that this story presents this is a very visceral way, and how it can lead to tragedy. But while Branwen ferch Llyr is a tragedy, and I think that ASOIAF is much more likely to end on a happy note. Tolkien  wrote about what he called the “eucatastrophe,” a sudden turn of good over evil, just when all seems lost. In many ways ASOIAF subverts this idea- there is almost never an almost divine moment of grace when good is able to triumph despite the odds. However, I would like to suggest that just because this particular idea is not played to in ASOIAF, doesn’t mean that the series is as “grim dark” as it accused of being. There is an undercurrent of hope that is absent from many of the great epics and stories like the Mabinogion. The wolves will come again, there is a dream of spring. The good will come from people striving for it, and working towards it despite everything, not from no where, but perhaps invoking the same feeling. Tolkien called this the essence of the fairy story. 

The consolation of fairy-stories, the joy of the happy ending: or more correctly of the good catastrophe, the sudden joyous “turn” (for there is no true end to any fairy-tale): this joy, which is one of the things which fairy-stories can produce supremely well, is not essentially 'escapist', nor 'fugitive'. In its fairy-tale—or otherworld—setting, it is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure: the possibility of these is necessary to the joy of deliverance; it denies (in the face of much evidence, if you will) universal final defeat and in so far is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief.

And I think that's why there has to be such devastation. SO that the hope and joy is that much more poignant. 

The Mabinogion is really not a fairy tale, though it shares some elements, and I think that’s why it’s intersting to bring up. There is no happy ending, but the story rumbles on, and I don't think that’s what ASOIAF is going to do. 

Branwen ferch Llyr is full of “almost” moments, where the disaster is almost diverted, the crisis almost resolved, but it all comes to naught. I pointed out in part one that while I think Lyanna is more of a Branwen played straight, tragedy and all, Sansa is a deconstruction and rebuilding of the trope that Branwen plays into. She is not saved by her brothers after everything that was done to her, but that’s alright. She’s going to be able to make her own happy ending if she chooses. Violence against innocents will not go unpunished, and there will be an end to the war. I do think that certain level of sacrifice is going to be required, just as Bran the Blessed decides that his head should be placed to watch over his people, at the cost of his life. And maybe Branwen ferch Llyr does end on a more hopeful note, for the people listening?

[wellpresseddaisy]

Excerpts from Use Any Means

"Why are you doing this?!" Harry paced before the solid desk, gesturing wildly. "I have to be part of this. There's a prophecy!"

"Well now, isn't that a marvel?" Cadw responded patiently. "My people set great store by prophecy, bach, but if it didn't come from the oracular head of Bendigeidfran, then I'm afraid it's a moot point."

"The...what?" Harry stopped in his tracks, staring at his guardian.

"The oracular head of Bendigeidfran. Buried under the Tower of London. It's why there's ravens there yet. I've heard tell he speaks through them, sometimes, even now. Bit hard to deliver prophecy from underneath a tower, you understand."

"What?" They were definitely words, and in English, but they made no sense.

"Surely you know of the ravens and the founding of...no, I don't expect Binns has got there at all. Such a pity the English don't know who guards and guides them. Only to be expected, really."

"I don't care about that." Harry insisted, shaking his head. How did every conversation with this man end like this? "I care about the magical world and what Voldemort's doing! And I can help. I have to help."

"I expect you feel you do." Cadw answered gently. "But I won't have you involved untrained as you are. If you wish to join this fight, Harry, you may. But you'll learn a fair bit more, first."

"But people are being hurt now!" Harry resumed pacing.

"When we've heard naught of any dark lord for a solid month?" The soft question had Harry whirling back around, high color in his cheeks.

"He works in secret. That's how he did it the last time, until it was almost too late. I have a...a responsibility."

"Do you now?" Cadw's soft, composed questions made Harry want to hurl something at the wall.

"Of course I do! More people will...will die if I don't do something to help!" Harry insisted, burying his hands in his hair and tugging.

"Oh, my poor lad."

Harry hadn't heard him move at all, but found himself gathered against his guardian's chest. The warm arms around him soothed his agitated spirits and he rested his forehead against Cadw's scratchy waistcoat.

"I know a bit about responsibility. It shouldn't be me here, you know. I'm standing where my father or either of my older brothers should have been. Sometimes I think Ddrai would have been the best of us for you. He burned with the same passion you do, but he'd learned to temper it. They were such good people, and they were cut down at the start of this fight, before you were ever born. I won't lose you, too, because your fire burns too bright. If you really wish to join the fight, properly, and there's one to join, then you'll be trained."

"Do you mean it?" Harry asked, voice quiet and unsure.

"Of course I mean it. Just as I meant my question just now. Do you want to go back to Hogwarts this year?"

[ladyanneboleyn2]

Branwen emerges from the narrative of the Second Branch as a Goddess of ...

[theflytingfox]

New Deck - Diablo Sanctuary Tarot

So, here it is - the new Diablo Sanctuary Tarot deck! This deck is nothing like anything I own but I absolutely love it. The imagery is stunning, and even though the cards are ginormous, it works. A reading with this deck makes a statement for sure!

I always try to incorporate divination into my Monastic Routine. I rotate between several oracle decks for a daily message from Loki and also from Bendigeidfran.

I find it is a useful way of maintaining a connection and communicating, especially when one doesn't have any "clair" senses to rely on.

I am not sure where this deck will fit into my practice just yet, but I get a really good energy from it and I am excited to get to know it better.

[mgakwentongbayan]

Branwen, Daughter of Llŷr

“Branwen, Daughter of Llŷr” is another captivating tale from “The Mabinogion,” the collection of Welsh medieval legends. The story follows the tragic events surrounding Branwen, the daughter of the Welsh king Llŷr. Here’s an abridged version of the story: Branwen was a beautiful and kind-hearted princess, beloved by all who knew her. Her brother, Bendigeidfran (Bran), was the mighty king of…

[comeplaywithme-monkandchi]

The Submissive’s Advent Calendar

DAY 4

Activity: Plan for next year.

Needles:

By December 2023

Kinkfest:

A weekend-long educational kink/BDSM/fetish conference with workshops, performances, discussions, play, and much more...

When? Friday 8 - Sunday 10 September 2023. KinkFest always runs over one weekend from around 8pm on Friday until around 5pm on Sunday.

Where? Club Xtasia, West Bromwich, Birmingham, UK

How Much? TBC

Interrogation scene with Monk:

By March 2023

Suspension with Monk:

By June 2023

Sadistic suspension with Dea:

By June 2023 – to be discussed with Dea.

Ice branding with Monk:

November-December 2023 – winter themed play!

Rope with Cerridwen and Bendigeidfran:

January-February 2023

Subwork:

Commit to and work harder on it, including coming up with a curriculum and creating classes.

Coordinate with Cerridwen and AdoraBelle.

January 2023.

[paintandpensandyarn]

Character Development

I've been trying to develop my FL character for a while, but I'm having trouble integrating her into the world on my own.

So far, I've worked out this:

Myfanwy Bendigeidfran was born in Cardiff, Wales, to an upper middle class family. Her father was a merchant specialising in wool products. She comes from a long line of proud Welsh speakers.

When she was in her late teens, she moved to London to seek more opportunity. She started working as a private eye, and was very good at her job. But when London fell, she found a new calling. She became fascinated with the Correspondence, and began working as a researcher with Benthic university.

She's also an active member of the Welsh speaking community, insofar as it exists in Fallen London.

If anyone thinks their character(s) might know her and would like to get in on the fun, feel free to DM me or send me a calling card: https://www.fallenlondon.com/profile/Myfanwy%20Bendigedfran