Marilyn Monroe reading James Joyce in a Public Park: Druidic and Bardic Powers of Enchantment (Text by Tina Fields & Photo by Eve Arnold)
by Steven McCabe
Inspired poetry, regarded as a vital skill of the pagan Celtic seer, fits in with the shamanistic tenet that one must bring back any information gained from the Otherworlds to benefit the people.
One challenge to this is that visions wildly pouring forth while in deep trance can easily be forgotten during the return to ordinary waking consciousness.
They are much more likely to be retained and recalled for later use when placed in some sort of pattern which the cognitive mind can hold onto.
Through the uses of rhyme, alliteration, meter, repetition and tune to this end, the crafts of music and poetry became intimately connected with magical practice and otherworldly power and knowledge in the Celtic world.
Besides voicing deep and otherwise hidden wisdom gained while in an altered state, bards used sound to harm, heal, and alter moods and probability.
Poetry and music were not considered beaux-arts to the pagan Celts, but tools of raw magical power.
Scorching satirical poetry known as the briarmon smetrach was intended to ‘puncture’ and to publicly destroy reputations.
Well-aimed, the poetic form known as glam dicin was used to drive out rats and to disfigure or even kill an opponent.
The Irish cattle-rustling epic Tain bo Cualgne describes the bardic warfare employed by Queen Medb against her enemy Fer Diad:
Then Medb sent the Druids and satirists and harsh bards for Fer Diad, that they might make against him three satires to stay him and three lampoons, and that they might raise on his face three blisters, shame, blemish and disgrace, so that he might die before the end of nine days if he did not succumb at once (Kinsella 1969).
Bardic incantations could also be used to end hostilities. Diodorus Siculus observed this magical use of sound in the late 1st-century B.C.E.:
Frequently when armies confront one another in line of battle with swords drawn and spears thrust forward, these men intervene and cause them to stop, just as though they were holding some wild animal spellbound with their chanting. (Diodorus Siculus 31, 2-5, as cited in Ireland, p. 181).
Tacitus describes the effect of this weaving of enchantment against Roman invaders on the Isle of Mona in 60 A.D.:
On the shore stood the opposing army with its dense array of armed warriors, while between the ranks dashed women in black attire round the Druids, lifting up their hands to heaven and pouring forth dreadful imprecations, scared our soldiers by the unfamiliar sight so that, as if their limbs were paralyzed, they stood motionless and exposed to wounds. (Tacitus, AnnalsXIV, 30)
Finally, bardic powers could also be used to heal – as when a master harper restored speech to the dumb prince Maon through his music.
The small harp was often employed by bards as a magical tool.
Part of the Celtic harper’s toolkit was working knowledge of the Adbhan Trireach or ‘Three Noble Strains,’ attributed to the chants for childbirth sung by the god/spirit Dagda’s harp Uaithne.
Each Strain was not only entertainment but a form of enchantment: ‘Sorrow-‘ or ‘Lament-Strain’, which could reduce listeners to tears; ‘Joy-Strain’, which could turn tears to laughter; and ‘Sleep-Strain’, which could soothe listeners’ hearts into deep sleep.
Gaining songs of power from spirits is a common element occurring in many shamanistic cultures.
Text above from the section Druidic and Bardic Powers of Enchantment in Celtic Shamanism: Pagan Celtic Spirituality by Tina Fields, Ph.D https://indigenize.wordpress.com/about/spiritual-ecopsychology/celtic-shamanism/
My digital manipulation of source material is intended for purposes of commentary & creative pastiche/creating a new work incorporated with original art & based upon Marilyn Monroe Reading Ulysses, Long Island, New York, 1954. Photo by Eve Arnold.
Original photo by Eve Arnold as well as information about Marilyn Monroe’s reading habits and book collection can be found at http://www.booktryst.com/2010/10/marilyn-monroe-avid-reader-writer-book.html
Steve, this is a beautiful piece, in particular, I would love to show it in some way, accompanied by a sound track that I can put on my seats, and truly immerse one in the experience. I am a big fan of this piece and would like to spend more time with it.
Hi Maria. I appreciate your thoughts about this piece. Your idea sounds very interesting. I’ll message you and we can explore the idea. Thank you for your interest and response. Good to hear from you.
Ah Steven, as ever the druid shaman and shape changer artist. I found humour and beauty in your juxtaposition of anthropological didacticism and the whimsical pastels of Marilyn, so absorbed in reading that she never meets Pan who dances always through her every moment…
Hi John, Thank you for these insightful thoughts. I was surprised recently to learn that Joseph Campbell was quite involved in Joyce’s work and happily surprised to discover there is a book of his analysis/insights on the subject. He was apparently involved with Joyce’s work as a young man. I’ve never gotten around to reading Ulysses or Finnegan’s Wake (Marilyn’s reading certainly outstrips mine in this department) and wonder if reading Campbell first might not be a good strategy.
“One challenge to this is that visions wildly pouring forth while in deep trance can easily be forgotten during the return to ordinary waking consciousness.They are much more likely to be retained and recalled for later use when placed in some sort of pattern which the cognitive mind can hold onto.”
I think we can all testify to the truth of the first sentence, even if it’s just to ourselves! I’ve also read that our minds actually functioned differently when we were an aural culture…before the written word was available. All information was transferred and information upgraded in this manner, with pattern and rhyme, the better to be retained. How much more susceptible we would be to the voice and all its power since we were acclimated to its resonance. Sounds like an interesting time doesn’t it…
Hi Jana, Interesting point you pick up on and I’m glad you quoted this passage because I think I glided over it when assembling the post. I wonder if we can qualify ‘creative inspiration/magic via artistry when you forget time’ as a deep trance state…if so I know ‘deep trance.’ Otherwise I’m not sure I do. …I suspect this is true that our minds would have functioned and perceived differently. It would have been a wild time to retain knowledge…and to store it in such patterns would have taken up (perhaps) a lot of our memory banks. Where we now store mass media/consumerist junk. I have heard of people doing ‘voice work’ to connect to their deepest source. Perhaps a memory or remnant or living stream of this?
A fascinating weave of images and ideas. I particularly liked the beat and rhythm of your images: big image, big image, small image….big image, big image, small image….big image, big image, small image. A waltz, I think. 🙂 The deer image is familiar. Is it from a shamanistic prehistoric cave painting? Lascaux?
Hi Jeanie, Thank you for your thoughts on the images with the ideas. I’m glad the rhythm was pleasing. Waltz (!) sounds great! I played around quite a bit after posting it to get a pleasing arrangement. I’m picturing waltzing and love the idea of Marilyn and Joyce and the images waltzing through time and space. I love the idea of the deer image being connected to Lascaux. I was originally inspired by Cernunnos on the Gundestrup Cauldron who I have read may actually be a Celtic Shaman. However I’ve also read that the Cauldron originally came from Assyria and travelled through the Celtic lands so I think I’ll just go with ‘antlered Celtic Shaman-type figure.’ And (to borrow your word) perhaps he or she is waltzing in and out, through dimensions, via thoughts, connections…also. The figure came from a small painting I did recently.