Just some brief notes on one of my favorite Arthurian characters.
Gawain, eldest of the Orkney brothers (sons of King Lot of Lothian and Arthur's sister, the enchantress Morgause), is one of the most commonly appearing of Arthur's knights. His position as Arthur's nephew (and heir presumptive, though he never assumes the role of crown prince) makes him an essential part of the court, and he is widely proclaimed as one of, if not THE best, of Arthur's knights.
Because he appears in so many different stories from so many sources, reports of his character may appear rather muddled. He is strong, capable, noble, and loyal. He is usually portrayed as quite secular, lacking the more spiritual focus of some of the other knights who went on to achieve notoriety in the Grail quests. He has a lot of visible character development, where one can see that he has actually learned something from his various knightly adventures. There are two schools of thought as to his basic temperament: the French romances tend to portray him as a boor, even a thug, in sharp contrast to the courtly Lancelot. This unflattering picture is clearest in Malory's Le Morte D'Arthur. British writers also contrast Gawain with Lancelot, but here Gawain comes off better: authentic, assured, educated without being an effete popinjay more concerned with appearances than truth. Sir Gawain and the Green Knight is one of the three most important pieces of late medieval English literature (the other two being Chaucer's Canterbury Tales and Piers Plowman), and in it Gawain is portrayed as a peerless knight, who must save the court (and learn the difference between courtly ideals and actual temptation).
He is connected with or identical to the welsh hero Gwalchmai (poetically if inaccurately derived as meaning "hawk of may"). His shield device is a pentacle. Some of the stories give him the supernatural quirk that his strength waxes and wanes with the sun. In the Dame Ragnell story, he cures the loathly lady by correctly observing that what she wants is not his correct judgement, but the ability to decide for herself.
What we have going on here is a set of stories that have been put to many purposes. The British stories are more nationalistic, and also more about social commentary in the real world, where as the French romances are more inner-spititual/allegorical.
There is a John Matthews book that's well worth looking at, Gawain: Knight of the Goddess. It puts forward the thesis that Gawain's character, attributes and activities best represent the concerns of a pre-Christian Goddess-worshipping strand of medieval consciousness.
What if Arthur and Gawain and others in these stories are actually thinly-veiled tales of the deities of an earlier people? A sun-god whose strength is tied to the solar cycle just makes sense. Arthur as a Mider-like underworld figure who claims and loses a sovereignty-goddess yields interesting food for thought, at the very least. Nobody is shocked at the Lady of the Lake as a divine figure, but many of the mortals (or faery-blood mortals) could be interpreted as such too.
Euhemerus was a philosopher from about a century after Plato who said that the Olympians (and, we have to assume, other gods) were merely mortal leaders, kings, extraordinary people who had been divinized by their people. cf Augustus and Alexander. This is like the inverse; gaining insight into the deities of the non-dominant culture by evaluating the stories in which powerful mortals can be interpreted as heavily-veiled deities. The misogyny of Western culture is such that this is lamentably necessary more often for female deities.
Wow, this got long quickly so I will leave it here.
References:
http://www.lib.rochester.edu/camelot/gawmenu.htm (this has links to medieval Gawain texts)
Gerald Morris has a series of young adult Arthurian novels, of which the first two are about Gawain. He also appears in a less central role in later stories.
The John Matthews book I mentioned:
http://www.amazon.com/Sir-Gawain-Goddess-John-Matthews/dp/0892819707/ref=sr_1_1?ie=UTF8&s=books&qid=1243294839&sr=8-1
Monday, May 25, 2009
Herbal - Milk Thistle
***Disclaimer*** this article is a summary of online research and does not constitute medical or expert advice, no claims or recommendations are to be taken from the information herein.
Milk Thistle (Silybums Adans spp) is a flowering member of the daisy family and is native to North Africa, the Middle East, and the Mediterranean. Extracts of Milk Thistle containing Silymarin are commonly promoted as having positive effects on the liver. Silymarin is an anti-inflammatory and antioxidant with estrogenic effects (the estrogenic effects are the reason that pregnant and nursing women, as well as those with uterine, ovarian or breast cancers should definitely avoid this supplement.)
Research into medical uses of milk thistle extract has been promising. Some studies have indicate no statistical difference in individuals taking milk thistle to treat liver disease, others have shown positive effects in individuals exposed to liver toxins (mushrooms, toluene, xylene.) The general consensus is that more rigorous studies are needed to establish the benefits and action of silymarin.
Other possible benefits of Milk Thistle Extract include:
- Reduction of cholesterol levels
- Reduction of insulin resistance in Type 2 Diabetics
- Treatment of hangovers
Milk Thistle can cause mild to severe allergic reactions in sensitive individuals and shouldn't be taken by individuals who are allergic to ragweed.
Sources:
http://www.webmd.com/heart-disease/milk-thistle-benefits-and-side-effects
Monday, May 11, 2009
(Mg, Fe)2SiO4 aka Peridot
Peridot is a gemstone which occurs in shades of green or yellow/green. The degree of greeness is dependent on the amount of iron in the gem. It has a Mohs Hardness of 6.5 to 7, streaks white, and has a specific gravity of 3.2 to 4.3. Peridot is the only(?) gemstone found in meteorites and is a gem quality form of olivine.
Peridot was known by the Hebrews as Chrysolite, however this term may also refer to other jems. In terms of ascribed traits peridot is seen as protective, attracting friendship and/or love, calming of strong emotions (anger and envy being referenced in various sources), promoting sleep, and aligned with the element of earth. Peridot is the August Birthstone. Several reference mention peridot being carved in to talismans and used also being used as a vessel for healing mixtures.
Some references mention that peridot is the gem that makes up the seventh foundation of the "new jerusalem" mention in the christian book of revelations.
In use, peridot could be a functional core for rituals involved in repelling negative magical of mental energies, in healing work, and to calm and ground one's self. Some references state that peridot should be worn on the right side of the body - I leave this up to personal experimentation.
References:
Modes
It’s even more complex than we thought! First of all the picture is complicated by the fact that different authors have used the same words at different times to refer to slightly different things. There are three main kinds of modes that could be meant when someone says words like Phrygian, Dorian, Mixolydian, and so on: Modern modes, Church or Gregorian modes, and Greek musical theory.
modern modes, of which there are seven, though only the so-called major (Ionian) and minor (Aeolian) scales have any real popularity in Western music. These are not hugely easy to understand, but can best be explained by the use of a piano keyboard. If you play only on the white notes and start at the note indicated, you’ll get the named scale. C:Ionian, D:Dorian, E:Phrygian, F:Lydian, G:Mixolydian, A:Aeolian, B:Locrian (A mnemonic to help remember the order: I Don't Play Loud Music After Lectures)
Most of this next bit is well beyond our scope, but I kept it here because of the examples of well-known songs in each mode.
• The Ionian mode has a V7 chord, and is the only mode where the V7 occurs naturally. Without further clarification, "major mode" or just "major" refers to the Ionian mode. Most common songs, including such simple classics as "Happy Birthday to You" and "Twinkle Twinkle Little Star," are in the Ionian mode.
• The Dorian mode has a characteristic raised sixth relative to the Aeolian mode, which produces a major IV chord and a minor II chord. "What shall we do with the drunken sailor", "Greensleeves", the main theme from Halo, the rock song "Born to Be Wild", and "Scarborough Fair" ("Parsley Sage Rosemary and Thyme") are in the Dorian mode, as is the Sixth Symphony by Jean Sibelius.
• The Phrygian mode has a lowered second relative to Aeolian, which creates its characteristic ♭II major and v diminished chords. This mode is quite common in flamenco music and is often referred to as the "Spanish" mode. The Jimmy Somerville song "So Cold The Night" and the Jefferson Airplane song "White Rabbit" are in Phrygian mode. The second movement of Brahms's Fourth Symphony famously opens in the Phrygian mode.
• The Lydian mode has a raised fourth relative to the Ionian, which creates a iv diminished, vii minor, and a II major chord. The theme song from the TV show The Simpsons is a commonly-cited example of the Lydian mode with its prominent raised fourth, although its lowered seventh technically puts it in a mode derived from the melodic minor scale, known as "Lydian Dominant". The first syllable of the birthday celebrant's name in "Happy Birthday" (after "Happy birthday, dear ...") is the raised fourth of a Lydian chord.
• The Mixolydian mode has a flat 7th degree relative to the Ionian; this creates a I7, a v minor, and a VII major chord. There is also a iii dim chord, but it is not used extensively in modal compositions. The Beatles song "Norwegian Wood" and the ABBA song "The Visitors" are in Mixolydian mode. Jazz and boogie woogie are often written in this mode as well. Scottish bagpipes, which have B-flat as the tonic, generally play on an approximately Mixolydian scale, with the 7th note (G-sharp) a quarter-tone between G-sharp and A. Minimalist composers also make extensive use of this mode, John Coolidge Adams, being a good example.
• The Aeolian mode has a flat three, six, and seven; its characteristic chords are the minor iv and v chords. There is a subtle distinction between an Aeolian modal composition and a composition in a minor key, because the sixth and seventh degrees in a minor key can be altered to create major IV and V chords. The Aeolian mode is also more commonly known as the Natural (Pure) minor scale. In cases where the Aeolian mode has the same key signature as a particular major key but with a different tonic, it is referred to as the Relative minor scale. For example, A Aeolian is the Relative minor of the C major scale. The guitar solo in "Achilles Last Stand" by Led Zeppelin is in Aeolian mode. Many popular children's songs such as "The Ants Go Marching" are in the Aeolian mode.
• The Locrian mode has flattened second and fifth scale degrees relative to the Aeolian and has a diminished i chord. It is highly unstable, and its diminished i chord makes establishing tonality in the mode nearly impossible. The few pieces written in this mode usually used an altered i minor chord (B-D-F♯) to establish the tonal center, and then used the minor iii (D-F-A) and major V chord (F-A-C) to establish the modality. The locrian mode is so unstable that the ♭II chord cannot be used as it will quickly and inevitably establish itself as the I chord of a major key. The iv minor chord in second inversion with the tonic doubled is a good I chord for Locrian because it is the exact reverse of a major chord.
church modes, or Gregorian modes. There were 8 of these originating in the 9th century, with some confusion to do with trying to make Boethius and other sources correspond with church chants and modes. This gets deep fast, but there were these eight: Dorian, Hypodorian, Phrygian, Hypophrygian, Lydian, Hypolydian, mixolydian, Hypomixolydian. Four more were added in the sixteenth century: Aeolian, Hypoaeolian, Ionian, Hypoionian
Various interpretations of the "character" imparted by the different modes have been suggested. Three such interpretations, from Guido of Arezzo (995-1050Adam of Fulda (1445-1505), and Juan de Espinoza Medrano (1632-1688), follow:
Name Mode D'Arezzo Fulda Espinoza Example chant
Dorian I serious any feeling happy, taming the passions Veni sancte spiritus
Hypodorian II sad sad serious and tearful Iesu dulcis amor meus
Phrygian III mystic vehement inciting anger Kyrie, fons bonitatis
Hypophrygian IV harmonious tender inciting delights, tempering fierceness Conditor alme siderum
Lydian V happy happy happy Salve Regina
Hypolydian VI devout pious tearful and pious Ubi caritas
Mixolydian VII angelical of youth uniting pleasure and sadness Introibo
Hypomixolydian VIII perfect of knowledge very happy Ad cenam agni providi
Greek tonoi or harmoniai (the word mode derives from Latin). A bewildering array of stuff, all inconveniently utilizing the same words to make different points. In the Aristoxenian system, there were apparently seven scales, but 13 or more tonoi, and I don’t know how many harmoniai, or even exactly what Plato, Aristotle, and Ptolemy were talking about. This means that Plato’s observations on the properties of the various types are tantalizing, but not too practically useful without a doctorate in ancient music theory, and I don’t care that much.
In the Republic, Plato uses the term inclusively to encompass a particular type of scale, range and register, characteristic rhythmic pattern, textual subject, etc. (Mathiesen 2001a, 6(iii)(e)). He held that playing music in a particular harmonia would incline one towards specific behaviors associated with it, and suggested that soldiers should listen to music in Dorian or Phrygian harmoniai to help make them stronger, but avoid music in Lydian, Mixolydian or Ionian harmoniai, for fear of being softened. Plato believed that a change in the musical modes of the state would cause a wide-scale social revolution.
The philosophical writings of Plato and Aristotle (c. 350 BC) include sections that describe the effect of different harmoniai on mood and character formation. For example, this quote from Aristotle's Politics (viii:1340a:40–1340b:5):
The musical modes [harmoniôn] differ essentially from one another, and those who hear them are differently affected by each. Some of them make men sad and grave, like the so called Mixolydian; others enfeeble the mind, like the relaxed modes; another, again, produces a moderate or settled temper, which appears to be the peculiar effect of the Dorian; and the Phrygian inspires enthusiasm. (Jowett 1943,[page needed])
Plato and Aristotle describe the modes to which a person listened as molding the person's character. The modes even made the person more or less fit for certain jobs. The effect of modes on character and mood was called the "ethos of music".
modern modes, of which there are seven, though only the so-called major (Ionian) and minor (Aeolian) scales have any real popularity in Western music. These are not hugely easy to understand, but can best be explained by the use of a piano keyboard. If you play only on the white notes and start at the note indicated, you’ll get the named scale. C:Ionian, D:Dorian, E:Phrygian, F:Lydian, G:Mixolydian, A:Aeolian, B:Locrian (A mnemonic to help remember the order: I Don't Play Loud Music After Lectures)
Most of this next bit is well beyond our scope, but I kept it here because of the examples of well-known songs in each mode.
• The Ionian mode has a V7 chord, and is the only mode where the V7 occurs naturally. Without further clarification, "major mode" or just "major" refers to the Ionian mode. Most common songs, including such simple classics as "Happy Birthday to You" and "Twinkle Twinkle Little Star," are in the Ionian mode.
• The Dorian mode has a characteristic raised sixth relative to the Aeolian mode, which produces a major IV chord and a minor II chord. "What shall we do with the drunken sailor", "Greensleeves", the main theme from Halo, the rock song "Born to Be Wild", and "Scarborough Fair" ("Parsley Sage Rosemary and Thyme") are in the Dorian mode, as is the Sixth Symphony by Jean Sibelius.
• The Phrygian mode has a lowered second relative to Aeolian, which creates its characteristic ♭II major and v diminished chords. This mode is quite common in flamenco music and is often referred to as the "Spanish" mode. The Jimmy Somerville song "So Cold The Night" and the Jefferson Airplane song "White Rabbit" are in Phrygian mode. The second movement of Brahms's Fourth Symphony famously opens in the Phrygian mode.
• The Lydian mode has a raised fourth relative to the Ionian, which creates a iv diminished, vii minor, and a II major chord. The theme song from the TV show The Simpsons is a commonly-cited example of the Lydian mode with its prominent raised fourth, although its lowered seventh technically puts it in a mode derived from the melodic minor scale, known as "Lydian Dominant". The first syllable of the birthday celebrant's name in "Happy Birthday" (after "Happy birthday, dear ...") is the raised fourth of a Lydian chord.
• The Mixolydian mode has a flat 7th degree relative to the Ionian; this creates a I7, a v minor, and a VII major chord. There is also a iii dim chord, but it is not used extensively in modal compositions. The Beatles song "Norwegian Wood" and the ABBA song "The Visitors" are in Mixolydian mode. Jazz and boogie woogie are often written in this mode as well. Scottish bagpipes, which have B-flat as the tonic, generally play on an approximately Mixolydian scale, with the 7th note (G-sharp) a quarter-tone between G-sharp and A. Minimalist composers also make extensive use of this mode, John Coolidge Adams, being a good example.
• The Aeolian mode has a flat three, six, and seven; its characteristic chords are the minor iv and v chords. There is a subtle distinction between an Aeolian modal composition and a composition in a minor key, because the sixth and seventh degrees in a minor key can be altered to create major IV and V chords. The Aeolian mode is also more commonly known as the Natural (Pure) minor scale. In cases where the Aeolian mode has the same key signature as a particular major key but with a different tonic, it is referred to as the Relative minor scale. For example, A Aeolian is the Relative minor of the C major scale. The guitar solo in "Achilles Last Stand" by Led Zeppelin is in Aeolian mode. Many popular children's songs such as "The Ants Go Marching" are in the Aeolian mode.
• The Locrian mode has flattened second and fifth scale degrees relative to the Aeolian and has a diminished i chord. It is highly unstable, and its diminished i chord makes establishing tonality in the mode nearly impossible. The few pieces written in this mode usually used an altered i minor chord (B-D-F♯) to establish the tonal center, and then used the minor iii (D-F-A) and major V chord (F-A-C) to establish the modality. The locrian mode is so unstable that the ♭II chord cannot be used as it will quickly and inevitably establish itself as the I chord of a major key. The iv minor chord in second inversion with the tonic doubled is a good I chord for Locrian because it is the exact reverse of a major chord.
church modes, or Gregorian modes. There were 8 of these originating in the 9th century, with some confusion to do with trying to make Boethius and other sources correspond with church chants and modes. This gets deep fast, but there were these eight: Dorian, Hypodorian, Phrygian, Hypophrygian, Lydian, Hypolydian, mixolydian, Hypomixolydian. Four more were added in the sixteenth century: Aeolian, Hypoaeolian, Ionian, Hypoionian
Various interpretations of the "character" imparted by the different modes have been suggested. Three such interpretations, from Guido of Arezzo (995-1050Adam of Fulda (1445-1505), and Juan de Espinoza Medrano (1632-1688), follow:
Name Mode D'Arezzo Fulda Espinoza Example chant
Dorian I serious any feeling happy, taming the passions Veni sancte spiritus
Hypodorian II sad sad serious and tearful Iesu dulcis amor meus
Phrygian III mystic vehement inciting anger Kyrie, fons bonitatis
Hypophrygian IV harmonious tender inciting delights, tempering fierceness Conditor alme siderum
Lydian V happy happy happy Salve Regina
Hypolydian VI devout pious tearful and pious Ubi caritas
Mixolydian VII angelical of youth uniting pleasure and sadness Introibo
Hypomixolydian VIII perfect of knowledge very happy Ad cenam agni providi
Greek tonoi or harmoniai (the word mode derives from Latin). A bewildering array of stuff, all inconveniently utilizing the same words to make different points. In the Aristoxenian system, there were apparently seven scales, but 13 or more tonoi, and I don’t know how many harmoniai, or even exactly what Plato, Aristotle, and Ptolemy were talking about. This means that Plato’s observations on the properties of the various types are tantalizing, but not too practically useful without a doctorate in ancient music theory, and I don’t care that much.
In the Republic, Plato uses the term inclusively to encompass a particular type of scale, range and register, characteristic rhythmic pattern, textual subject, etc. (Mathiesen 2001a, 6(iii)(e)). He held that playing music in a particular harmonia would incline one towards specific behaviors associated with it, and suggested that soldiers should listen to music in Dorian or Phrygian harmoniai to help make them stronger, but avoid music in Lydian, Mixolydian or Ionian harmoniai, for fear of being softened. Plato believed that a change in the musical modes of the state would cause a wide-scale social revolution.
The philosophical writings of Plato and Aristotle (c. 350 BC) include sections that describe the effect of different harmoniai on mood and character formation. For example, this quote from Aristotle's Politics (viii:1340a:40–1340b:5):
The musical modes [harmoniôn] differ essentially from one another, and those who hear them are differently affected by each. Some of them make men sad and grave, like the so called Mixolydian; others enfeeble the mind, like the relaxed modes; another, again, produces a moderate or settled temper, which appears to be the peculiar effect of the Dorian; and the Phrygian inspires enthusiasm. (Jowett 1943,[page needed])
Plato and Aristotle describe the modes to which a person listened as molding the person's character. The modes even made the person more or less fit for certain jobs. The effect of modes on character and mood was called the "ethos of music".
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