At the Field's Edge: A Pagan Podcast

Episode 7: The Burning Thumb - The Tale of Taliesin

This episode is about inspiration — not the comfortable version, but the one the old stories actually describe: the kind that arrives without warning, scalds on contact, and changes everything it touches. At the centre of it is one of the foundational myths of the Welsh bardic tradition, and a question worth carrying: what are you tending, without quite knowing why? A note on sources and honesty Taliesin was a real historical figure: a sixth-century poet whose work survives in the manuscript tradition. The legendary Taliesin, the shapeshifter born from Ceridwen's cauldron, is a separate tradition that grew up around him over centuries. The two became thoroughly intertwined in medieval Welsh literature, and it is not always possible to separate them cleanly. The story told in this episode belongs to the legendary tradition, preserved in sixteenth-century manuscripts but drawing on much older material. The concept of Awen as a flowing spirit of inspiration is well-attested in Welsh poetic tradition, though its development as a central concept in modern Druidry owes much to the eighteenth-century revival, particularly the work of Iolo Morganwg. Taliesin: the historical and the legendary The historical Taliesin worked in the late sixth century, composing praise poetry for rulers of the Hen Ogledd: the Old North, what is now southern Scotland and northern England. Around a dozen poems are generally accepted as his, and they are among the earliest surviving examples of Welsh-language poetry. The legendary Taliesin, who was born from Ceridwen's cauldron and named for his radiant brow, belongs to a separate body of material in the Book of Taliesin: a fourteenth-century manuscript containing poems of widely varying date and character. Patrick K. Ford's translation and the scholarly editions of Marged Haycock are the most reliable ways into this material. The Awen The word Awen comes from the Proto-Celtic root meaning something like 'flowing' or 'inspired', related to the Welsh word for river, afon. In the medieval Welsh bardic tradition it referred to the gift of poetic inspiration, something a poet might receive rather than produce. In modern Druidry, particularly through OBOD, it has become a central and broadly understood term for creative and spiritual inspiration of all kinds. The chanted Awen that opens many druidic ceremonies is a modern practice, but the concept it points toward has genuine deep roots in the Welsh poetic tradition. The myth and what it says about inspiration The Ceridwen and Gwion Bach story is unusual among mythic accounts of inspiration in that it offers almost no comfort. There is no promise of readiness, no reward for spiritual preparation. The Awen arrives accidentally, costs Gwion everything he knows, and sends him through a sequence of transformations he has no control over. What the myth does insist on is presence: Gwion was there, tending the fire, available to the moment when it came. The distinction between readiness and availability is the one this episode turns on. Further reading Patrick K. Ford (trans.), The Mabinogi and Other Medieval Welsh Tales, University of California Press, 1977. The most readable scholarly translation, including relevant Taliesin material. Marged Haycock, Legendary Poems from the Book of Taliesin, CMCS Publications, 2007. The definitive scholarly edition of the legendary poems: specialist reading, but authoritative. John Matthews, Taliesin: The Last Celtic Shaman, Inner Traditions, 2002. A more accessible and esoteric approach; worth knowing that it blends scholarship with considerable imaginative reconstruction. The Welsh Poetry Archive (www.poetryarchive.org/welsh) offers some historical context and examples of early Welsh verse, though coverage of this period is limited. The fire has been burning longer than you know. At the Field's Edge is made by Rowan Lund. New episodes follow the wheel of the year.

Episode 6: The Fairy Tree

In this episode we explore one of Britain's most mythologised trees, the hawthorn, through its connections to Beltane, fairy lore, sacred boundaries, and the legend of the Glastonbury Holy Thorn. Part of what this show tries to do is be honest about where traditions come from. Not every piece of folklore is ancient, and not every "ancient" practice is quite what it seems. Where it matters, I've tried to flag that below. "Ne'er cast a clout till May is out"The interpretation that "May" refers to hawthorn blossom rather than the month is widely repeated, and plausible: the hawthorn was commonly known as the May tree, and its flowering was a genuine marker of the season. However, the original meaning of the saying is debated, and we can't be certain this is what it always meant. Treat it as a compelling possibility rather than established fact. The Beltane and May Day traditionsMay Day folk customs: maypoles, May Queens, going a-maying, have genuine roots in early modern British and European tradition. However, much of what we think we know about their origins was filtered and romanticised by Victorian folklorists and writers. The direct connection to pre-Christian Beltane is real but more complex and layered than it's often presented. Ronald Hutton's The Stations of the Sun (1996) is the essential guide here: scholarly, readable, and genuinely illuminating on what is and isn't demonstrably old. The indoor blossom tabooThe belief that hawthorn blossom was unlucky to bring indoors is well-documented across Britain and Ireland. The specific explanation, sometimes given as the blossom smelling of death or decay due to a chemical compound called trimethylamine, is a modern rationalisation added after the fact, not part of the original folk tradition. The taboo itself is real; the explanation is a later gloss. Fairy thorns and sacred treesThe tradition of leaving solitary hawthorn trees undisturbed for fear of fairy displeasure is well-attested in Irish and British folklore, and persisted well into living memory in rural communities. The story of the Clare road diversion is documented and widely reported, though accounts vary. For a serious and sympathetic treatment of fairy belief as a genuine tradition rather than mere superstition, look at Eddie Lenihan's work. particularly Meeting the Other Crowd (2003), compiled with Carolyn Eve Green. The Glastonbury Holy ThornThe legend of Joseph of Arimathea planting his staff at Glastonbury, from which a miraculous hawthorn grew, is medieval in origin, not ancient. It developed as part of a broader effort to establish Glastonbury as a major site of Christian significance. The tradition of sending a sprig to the monarch at Christmas is real and ongoing. The trees on Wearyall Hill and in the Abbey grounds today are grown from cuttings, not the original tree. For the full, carefully researched story of Glastonbury's layered mythologies, Hutton's Witches, Druids and King Arthur (2003) is worth your time. Further reading: * Ronald Hutton — The Stations of the Sun: A History of the Ritual Year in Britain (1996) * Ronald Hutton — Witches, Druids and King Arthur (2003) * Eddie Lenihan & Carolyn Eve Green — Meeting the Other Crowd: The Fairy Stories of Hidden Ireland (2003) * Richard Mabey — Flora Britannica (1996) — an extraordinary survey of British plant folklore, written with both rigour and warmth At the Field's Edge is a podcast about alternative spirituality, rooted in the British landscape. Hosted by Rowan Lund.

Episode 5: Ritual - A Direction of Travel

This episode began as a question about inspiration and became something harder to answer: what stands between us and the experiences we most need to receive? It moves through an old Irish story about a salmon and a still pool, a reflection on what ritual actually does, and an honest account of being asked a real question inside a ceremonial space. ---------------------------------------- A NOTE ON SOURCES AND HONESTY The story of the Salmon of Knowledge comes from early Irish mythology, preserved in medieval manuscripts including the Fenian Cycle. The association of the River Boyne with the Well of Segais and the nine hazel trees is well-attested in the source material. The tradition of Awen as a concept in modern Druidry is rooted in Welsh poetic tradition but substantially developed through eighteenth and nineteenth-century revival, particularly through the work of Iolo Morganwg. Where this episode draws on that living tradition rather than the historical record, it does so as practice rather than history. ---------------------------------------- THE SALMON OF KNOWLEDGE The story belongs to the mythological background of Fionn mac Cumhaill, the great hero of the Fenian Cycle. In its most familiar form, Fionn gains wisdom not by catching the salmon himself but by accidentally tasting it while cooking it for his teacher, the poet Finnegas, who had spent seven years waiting at the pool. The wisdom was never meant for Finnegas. It arrived, as it tends to, sideways. ---------------------------------------- AWEN AND THE QUESTION OF INSPIRATION Awen is the Welsh word most commonly translated as inspiration or flowing spirit, central to the Bardic tradition within modern Druidry. Its deeper implication is that creativity is something received rather than produced — which raises the question this episode is really about: what prevents the receiving? The obstacle, as the episode suggests, is rarely the absence of inspiration. It is more often the habit of intercepting it before it arrives. ---------------------------------------- WHAT RITUAL DOES There is a growing body of work in the cognitive science of religion exploring what ritual actually achieves — not in theological terms but in terms of attention, framing, and the suspension of ordinary self-monitoring. The short version: ritual works not by producing outcomes but by producing conditions. It creates a held space in which a different quality of presence becomes possible. Whether or not that framing satisfies, it matches the experience. ---------------------------------------- FURTHER READING AND LISTENING THE MABINOGION, TRANSLATED BY SIONED DAVIES (OXFORD WORLD'S CLASSICS, 2007). THE CLOSEST EQUIVALENT IN WELSH TRADITION TO THE IRISH MYTHOLOGICAL MATERIAL — ESSENTIAL BACKGROUND FOR ANYONE WORKING IN THE BARDIC TRADITION. CELTIC MYTH AND RELIGION BY SHARON PAICE MACLEOD (MCFARLAND, 2011). A SCHOLARLY BUT ACCESSIBLE INTRODUCTION TO THE SOURCE MATERIAL, INCLUDING THE IRISH MYTHOLOGICAL CYCLES. THE ORDER OF BARDS, OVATES AND DRUIDS — DRUIDRY.ORG. THE HOME OF THE TRADITION THIS PODCAST GROWS OUT OF, WITH A SUBSTANTIAL LIBRARY OF ARTICLES ON AWEN, THE BARDIC GRADE, AND RELATED THEMES. ---------------------------------------- THE POOL IS ALWAYS THERE, AND THE SALMON ALWAYS RETURNS — THE QUESTION IS ONLY WHETHER WE ARE WILLING TO MAKE THE SAME JOURNEY.

Episode 4: Finding Awen - Silence, Creativity and the Still Pool

Somewhere underneath the noise of modern life, there is a frequency that has always been there. This episode is about learning to hear it. Through the practice of the ancient Bards, through the voice of the natural world, and through the simplest threshold most of us cross without noticing: the quiet of early morning before the day begins. Includes a guided meditation to the still pool. A note on sources and honesty The material on the Bardic schools draws on sources that blend historical record with later interpretation. The twelve-year Irish curriculum is documented, though some detail may reflect later embellishment. The practice of seeking inspiration through sensory deprivation is attested in early Irish sources, though its exact form is debated. Gerald of Wales is a genuine twelfth-century source, but an outsider writing with his own agenda. The inner grove and still pool meditation are modern OBOD practices, rooted in older understandings of sacred landscape but not claiming ancient origin. Silence and the Bardic tradition The ancient Bards understood inspiration not as something produced but as something received in stillness: Imbas in Irish, Awen in Welsh. The Bardic schools survived in Ireland until the end of the seventeenth century, operating alongside the Church for over a thousand years, an extraordinary act of cultural continuity. The three melodies of creation The Welsh triad — the wind in the trees, the stream at snowmelt, the cry of a new-born babe — comes from a tradition of wisdom sayings used as teaching tools within the Bardic schools, memorised and carried in the body, so that the natural world could call them up unbidden. The still pool and the salmon The sacred pool of Conla's Well, surrounded by nine hazel trees, appears in early Irish mythology as the source of all wisdom. The image reaches into several traditions: the salmon of knowledge, the river goddess Boann, the Celtic understanding of water as a threshold to the Otherworld. Further reading: Philip Carr-Gomm, What Do Druids Believe? (Granta, 2006) Proinsias Mac Cana, Celtic Mythology (Hamlyn, 1970); Gerald of Wales, The Description of Wales, trans. Lewis Thorpe (Penguin Classics, 1978). Further resources at druidry.org. The still pool is always there, at the source. It is only the noise of the journey that makes it hard to find. At the Field's Edge is made by Rowan Lund. New episodes follow the wheel of the year.

Episode 3: Beltane - The Fire That Has to Be Earned

In this episode I go looking for Beltane not in its ancient origins (which are thinner and more contested than we might wish) but in the folklore of the British Isles, where May Day left its deepest and most vivid impressions. Three stories, from three different parts of Britain: the 'Obby 'Oss of Padstow in Cornwall, the sacred fire-kindling traditions of Scotland, and the mock battle of Summer and Winter from Wales. Each tradition has its own character and mood. But the longer I spent with them, the more clearly I could see the same insistence running beneath all three — that the turning of the year asks something of us. That summer has to be sung in, earned, fought for. A note on sources and honesty The folklore in this episode is real, but its age is not always what it might appear. The 'Obby 'Oss tradition in Padstow is documented from 1803, and the earliest written evidence does not predate the eighteenth century, though it clearly draws on older currents of May Day custom. The connection to Beltane is plausible rather than proven. The Scottish fire-kindling traditions come from seventeenth-century accounts rather than ancient records. The Welsh Summer and Winter battle is similarly early modern in its documented forms. This matters, not to diminish the stories, but to respect them. Folklore does not need to be ancient to be powerful or meaningful. These traditions have their own integrity without requiring us to project them back into a past we cannot see clearly. Where I have told them, I have tried to tell what is there rather than what might be wished for. The 'Obby 'Oss, Padstow, Cornwall Padstow's May Day celebration is one of the most atmospheric folk customs in Britain, and one of the few that remains genuinely communal rather than performed for visitors. The Night Song begins at midnight on April 30th outside the Golden Lion Inn. The two Osses: the Old Oss and the Blue Ribbon Oss, process through the town all day on May 1st, each led by a Teaser in white, accompanied by accordions and drums, and surrounded by crowds singing the May Song. Historian Ronald Hutton described the 'Obby 'Oss as "one of the most famous and most dramatic folk customs of modern Britain" and "a tremendous reaffirmation of communal pride and solidarity." For more: the unofficial Padstow Obby Oss site at padstowobbyoss.wordpress.com [http://padstowobbyoss.wordpress.com/] has photographs, videos, and recordings of the May Song. The Wikipedia article on the festival is also unusually thorough and balanced: en.wikipedia.org/wiki/%27Obby_%27Oss_festival [http://en.wikipedia.org/wiki/%27Obby_%27Oss_festival] The Beltane fires, Scotland The Scottish fire-kindling traditions described in this episode are drawn primarily from seventeenth and eighteenth-century accounts, collected and examined in detail by Ronald Hutton in The Stations of the Sun. The requirement that the men kindling the fire be morally upright, the nine sacred trees, the use of agaric fungus, the twin fires and the driving of cattle between them; all of these appear in historical sources from this period, though their deeper roots are impossible to trace with certainty. Summer and Winter, Wales The mock battle tradition described in this episode appears in several Welsh sources from the early modern period, and is discussed by Ronald Hutton among others. The two captains, their armies, the ritual weapons, Summer's inevitable victory and the crowning of the May King and Queen, these details are well attested in the historical record, even if the tradition's ultimate origins remain uncertain. Further reading Ronald Hutton, The Stations of the Sun: A History of the Ritual Year in Britain (Oxford University Press, 1996) — the essential starting point for anyone wanting to go deeper into British seasonal customs, approached with genuine scholarly rigour. The Folklore Society — the UK's principal organisation for the study of folklore, with a journal and archive reaching back to 1878: folklore-society.com [http://folklore-society.com/] Original Music: Rise Up, The May. (© Rowan Lund 2026)