From the Archive – Smoke, Mirrors and Herbs

To read the first part of these worldbuilding posts, click here. 


The Rún (Part 2) – How the healing cloths work

Last week I explained the Talent the Rún of Airthai has been given. Unlike the Ahma who has to be either in close proximity or touch a person to be able to heal them[1]; the Rún can be far away from their healing cloths, but the cloths will still work. This is because they are able to bestow some of their healing talent into the embroidery itself. Putting this cloth on someone in need of healing will cause the healing power to drain from the cloth.

The embroideries

The embroideries of the Rún consist out of depictions of certain plants as well as their own alphabet and language. This ‘secret’ language is taught orally only to the Rún and – even when written down – it is written in this language. These books are also kept only in the House of Rún and Holt Haliern to make sure that they do not fall into the wrong hands. Young Rún, while being taught the language, will make sampler cloths to more easily learn the language, learn to transfer meaning and learn to transfer their talent.

Each cloth is first embroidered with the suitable plants or parts of plants, for example flowers, seeds or roots. Next a healing or other prayer may be worked between the flowers. The floss with which the embroideries are made are all coloured by hand by Rún. Some of the Rún may spend all their time dyeing the threads with specific plants, while others only embroider – this depends wholly on their specific Talent.

The Fakes

There are some who copy the Rún style of embroidery while they are not Rún. These cloths are often sold as love charms, binding spells and even curses. While most of these cloths are complete fakes, some are made by Vídolf and can be truly dangerous.

WIPs

A couple of days ago, I mentioned on Twitter that I am busy with a short story. At the moment I’m using the working title “Here but for Grace” and it was one of those ideas that hits you square in the brain and you have to write it down as soon as you can. Building the layers and fleshing out the story, however, needs more research that picking my brain for the right files about mirrors and folklore (which is at the back of the cabinet, covered with some cobwebs and maybe even a lost spider spinning stories in her webs). So, I headed off for a trek across the room to one of the bookcases. I grabbed my trusty Brewer’s Dictionary of Phrase and Fable and the Penguin Reference Dictionary of Symbols. But, as I am also busy with worldbuilding the Rún, I also grabbed one of the books dealing with herbs and traditional cures[2]…

Blackberries by the artist Helen M. Stevens

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[1] Those of the Ahma given the Talent to heal, that is.

[2] Yes, I really enjoy building my own reference library, ranging from the dictionaries I use in general work and translations to archaeological fieldwork and the trees of the Highveld. Which may also explain why some of the files in my brain gets misplaced every once in a while!

Worldbuilding Wednesday – Smoke, Mirrors and Herbs

The Rún (Part 2) – How the healing cloths work

Last week I explained the Talent the Rún of Airthai has been given. Unlike the Ahma who has to be either in close proximity or touch a person to be able to heal them[1]; the Rún can be far away from their healing cloths, but the cloths will still work. This is because they are able to bestow some of their healing talent into the embroidery itself. Putting this cloth on someone in need of healing will cause the healing power to drain from the cloth.

The embroideries

The embroideries of the Rún consist out of depictions of certain plants as well as their own alphabet and language. This ‘secret’ language is taught orally only to the Rún and – even when written down – it is written in this language. These books are also kept only in the House of Rún and Holt Haliern to make sure that they do not fall into the wrong hands. Young Rún, while being taught the language, will make sampler cloths to more easily learn the language, learn to transfer meaning and learn to transfer their talent.

Each cloth is first embroidered with the suitable plants or parts of plants, for example flowers, seeds or roots. Next a healing or other prayer may be worked between the flowers. The floss with which the embroideries are made are all coloured by hand by Rún. Some of the Rún may spend all their time dyeing the threads with specific plants, while others only embroider – this depends wholly on their specific Talent.

The Fakes

There are some who copy the Rún style of embroidery while they are not Rún. These cloths are often sold as love charms, binding spells and even curses. While most of these cloths are complete fakes, some are made by Vídolf and can be truly dangerous.

WIPs

A couple of days ago, I mentioned on Twitter that I am busy with a short story. At the moment I’m using the working title “Here but for Grace” and it was one of those ideas that hits you square in the brain and you have to write it down as soon as you can. Building the layers and fleshing out the story, however, needs more research that picking my brain for the right files about mirrors and folklore (which is at the back of the cabinet, covered with some cobwebs and maybe even a lost spider spinning stories in her webs). So, I headed off for a trek across the room to one of the bookcases. I grabbed my trusty Brewer’s Dictionary of Phrase and Fable and the Penguin Reference Dictionary of Symbols. But, as I am also busy with worldbuilding the Rún, I also grabbed one of the books dealing with herbs and traditional cures[2]…

Blackberries by the artist Helen M. Stevens

---

[1] Those of the Ahma given the Talent to heal, that is.

[2] Yes, I really enjoy building my own reference library, ranging from the dictionaries I use in general work and translations to archaeological fieldwork and the trees of the Highveld. Which may also explain why some of the files in my brain gets misplaced every once in a while!

Ageless Words on Friday: The Battle of Maldon

This excerpt of The Battle of Maldon is taken from The Word Exchange: Anglo-Saxon Poems in Translation, an absolutely wonderful collection of poetry. The translations are superb, fluid and still contains the atmosphere of the original Anglo-Saxon poems.

The first time I read about The Maldon of Maldon (that I can recall, at least), was in Helen M. Steven’s book The Myth and Magic of Embroidery, in which a beautiful embroidery of Byrhtnoth is shown.

The Myth and Magic of Embroidery by Helen M. Stevens

Probably the best known lines from this poem; “Hige sceal þe heardra, heorte þe cenre, mod sceal þe mare, þe ure mægen lytlað.” also appears in J.R.R. Tolkien’s The Homecoming of Beorhtnoth, Beorhthelm’s Son.

This translation of the poem into Contemporary English has been made by David R. Slavitt. I will give the English first, followed by the Anglo-Saxon. A part of the poem can also be listened to at www.poemsoutloud.net. For The Battle of Maldon, click here.

Next week I’ll be bringing you an excerpt from a translation of the Old Norse text recounting The Battle of Stamford Bridge.

Leofsun then spoke,        raising his linden shield:

“I offer my oath.                       Not one step backward!

I fare only forward         to avenge in hard battle

my good lord’s death.     The brave men of my village,

the people of Sturmer,    will not have the need

to resproach my behaviour.         My friend has fallen

and I am lordless.           I will not go home

or turn away from the fight,        but a weapon must take me,

point or sharp blade edge.”          He advanced in his anger

and steadfast he fought,               scorning the flight.

Dunner spoke up                        as he brandished his weapon.

An honest peasant,          he called out to all,

bidding each soldier        to avenge great Byrhtnoth:

“Let no one hesitate        who intends to wreak vengeance

on the Viking horde,       nor fear for his life!”

Leofsunu gemælde          and his linde ahof,

bord to gebeorge;           he þam beorne oncwæð:

“Ic þæt gehate,   þæt ic heonon nelle

fleon fotes trym,                        ac wille furðor gan,

wrecan on gewinne         minne winedrihten.

Ne þurfon me embe Sturmere      stedefæste hælæð

wordum ætwitan,           nu min wine gecranc,

þæt ic hlafordleas           ham siðie,

wende fram wige,           ac me sceal wæpen niman,

ord and iren.”    He ful yrre wod,

feaht fæstlice,    flæm he forhogode.

Dunnere þa cwaeð,         daroð acwehte,

unorne ceorl,     ofer eall clypode,

bæd þæt beorne gehwyk              Byrhtnoð wræce:

“Ne mæg na wandian      se þe wrecan þenceð

Frean on folce,               ne for feore murnan.”

The Word Exchange: Anglo-Saxon Poems in Translation. Eds. Greg Delanty, Michael Matto. W.W. Norton & Company. 2011. p106-107.

On a lighter note...

This weekend I am going to finish the outline of Virgin for Hire: A Fairy Tale[1], and will have part 3 ready to post on Monday. Start reading here.

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[1] Don’t worry, this is a family-friendly piece of fiction.