MELUSINE THE REPTILIAN ON THE STARBUCKS LOGO
- ParrisVstefanow
- May 11
- 22 min read
Melusine is the spirit of fresh water, usually depicted as a woman who is a serpent or fish from the waist down, much like the mythical mermaid.
She is also frequently illustrated with two tails.
The image of Melusine is so famous and enduring that, perhaps without knowing her by name, we still recognize her image today as the logo for Starbucks Coffee.
Sixteenth century Theologian Martin Luther referred to Melusine unfavorably several times as a succubus, and nineteenth century composer Felix Mendelssohn wrote a concert overture titled "The Fair Melusina".
These days, images of Melusine are still seen in the Vendée region of Poitou, western France, where one can drink Melusine-brand beer and eat Melusine-style baguettes.
In Vouvant, paintings of her and her sons decorate the "Tour Melusine," the ruins of a Lusignan castle guarding the banks of the River Mère, where visitors of the tower can lunch at the Cafe Melusine nearby.
The legends of Melusine are especially connected with the northern and western areas of France, Luxembourg and the Low Countries.
Her name derives from Mère Lusine ("Mother of the Lusignans"), connecting her with Cyprus, where the French Lusignan royal house that ruled from 1192 to 1489 claimed to be her descendants.
The legend of Melusine, therefore, is related to the territorial and dynastic expansion of her descendants beyond Lusignan across the Mediterranean to distant Armenia during the crusades (1095 - 1291).
The Fairy and the King - The Legend of Pressyne, the Mother of Melusine
One day, at the time of the Crusades, Elynas, the King of Albany, went hunting and saw a beautiful lady in the forest.
The lady's name was Pressyne.
Elynas persuaded her to marry him and she agreed. However, Pressyne demanded a promise from him that he must never enter her chamber when she birthed or bathed her children. The couple lived happily for some time until Pressyne gave birth to triplets.
When, as one would expect to happen in these stories, her husband broke his promise, Pressyne left the kingdom, together with her three daughters, and traveled to the lost Isle of Avalon where her daughters - Melusine, Melior and Palatyne - would grow up.
On their fifteenth birthday, the eldest daughter, Melusine, asked her mother why she separated them from their father and took them to Avalon.
After hearing of their father's broken promise, Melusine sought revenge.
She rallied her sisters and the three sisters captured Elynas and trapped him in a mountain. When she heard what her daughters have done, Pressyne punished them for their disrespect to their father.
She condemned Melusine to take the form of a fish from the waist down every Saturday. In other versions of the legend, Melusine was condemned to take on the form of a serpent on Saturdays.
Some time later, history repeated itself when, while out hunting in the forests of the Ardennes, Raymondin, Lord of Forez in Poitou, a poor but noble gentleman, met the beautiful Melusine who was sitting beside a fountain in a glimmering white dress.
Raymondin, who was so taken by her beauty and her amiability, fell head over heels in love with her.
Melusine agreed to marry Raymondin on the condition he promises not to attempt to see her on Saturdays when she would go into seclusion.
Over the following years, the region of Poitou blossomed under Melusine's directions. Melusine oversaw the building of cities and castles including her own seat, the Château de Lusignan.
This connection between Melusine, with her fairy heritage, and the growing prosperity and fertility of the region of Poitou may have been one of the foundations of our modern construct of the benevolent fairy godmother.
During this time of prosperity, Melusine bore Raymondin ten sons - some of whom were said to be marked with strange signs and deformities because of their mixed heritage.
All of Melusine's sons would later become kings and tyrants.
Through the heritage of the sons of Melusine, the elements of mythology are blended with history to align the supernatural founder of the dynasty of Lusignan with the aspirations of late feudal society.
The practice of claiming descent from a supernatural being, even from gods and goddesses, has already been done by many leaders throughout the world;
....... from the ancient Roman Emperor Augustus who claimed to be descended from the war god Mars to the ancient emperors of China who claimed to be descended from a divine dragon.
By weaving the mythology of the supernatural from the folklore tradition into the royal lineage, the myths and the powers of Melusine can therefore be ascribed to the family name to add glamour and legitimacy.
With such ambivalence about Melusine's background and her activities on a Saturday, tensions arose as suspicions of infidelity were planted in Raymondin's mind.
Curiosity overcame Raymondin and, one Saturday, he spied on his wife through the keyhole. He saw with his own eyes how the lower part of Melusine's body took on animal qualities.
Unlike her mother before her, Melusine forgave her husband and stayed with him.
However, one day in a heated argument, Raymondin blamed her for their children's deformities and called her a monster.
Despised by her husband, the heartbroken Melusine developed wings and jumped through the window, leaving a human footprint on the stone.
Melusine never forgets her children as she comes back at night to milk her babies in human form.
As her sons grew older, Melusine would still return periodically to keep watch over her sons, flying around the castle crying mournfully.
She was never far away from her beloved family as she is sometimes heard wailing at night, especially when the castle changes leadership.
Her lineage continues in many parts of Europe and the Mediterranean as her sons became kings of new lands.
In the Luxembourgian legend of the story, Melusine was the wife of a noble knight, Count Siegfried, who lived at Koerich Castle. Although the legend is similar, this version tells us what happened to Melusine after she left her family.
The legend says that, every seven years, Melusine appears in human form in the upper world above the cliffs, asking the passers-by to redeem her.
If this does not happen, the white figure soars over the city crying,
"Not for another seven years!" then sinks back into the cliffs.
One day, a courageous soldier who had traded shifts with a comrade was standing guard on the cliff-top at midnight.
Melusine appeared to him in the form of a beautiful maiden and asked him to redeem her. She told him that it would be a difficult, but not impossible, task.
However, she said that he should not attempt it if he thought that he might not succeed, because if he failed she would sink three times deeper into the earth.
While she was speaking, a mighty rumbling sound arose from around the cliffs, causing the soldier to fear that they were about to collapse.
The soldier promised to do whatever he had to do to fulfill Melusine's wish. Melusine then told him that, every night at the stroke of midnight for the next nine days, he would have to appear behind the altar of the Dominican Church.
After he had done this nine times, on the tenth evening Melusine herself would appear to him in the form of a fiery serpent with a key in her mouth.
He would have to take the key from her mouth and throw it into the Alzette River, thus accomplishing her redemption.
For eight nights the soldier stood behind the appointed altar at midnight, but he arrived late on the ninth night and did not see the fiery serpent that he was told would be waiting for him.
Returning to his quarters, the soldier heard such howling and screeching from the cliffs that he thought all the wild animals were fighting one another in the air. However, no one else heard the noise.
The howling was Melusine's cry of anguish and she has not been redeemed even to this day.
A paper by Nikos Chausidis traces the development of "Mother Earth" iconography. The part that concerns us is that of the "zoomorphised female figure,"
....... which is an archetype consisting of a birth-giving goddess whose lower anatomical features are represented by creatures of the lower earth, snakes or fish.
Many of the illustrations of the fish-legged Mother Earth are medieval depictions of creatures that are often identified as Sirens or two tailed mermaids.
In classical mythology, the Sirens - famed for luring sailors to their death with their irresistible song - were usually taken to be a half-woman/half-bird.
However, the Sirens' association with the sea were highlighted, especially in the Christian era, by depicting them as half-woman/half-fish as fish also symbolize the lower realm.
Melusine is distinguished from the Sirens by having her origins in fresh water instead of salt water.
The use of the image of Melusine is usually considered as a symbol of eloquence in its positive aspect. This is presumably in deference to the seductive song of the Sirens centuries before.
The connection between Melusine and fertility is sometimes underlined by the bulging female abdomen that often features in the representations of her.
The two tails, which are usually shown folded towards the mermaid's head, are transformations of the legs of the earth goddess which are spread either in sexual relations or in childbirth.
In the fourteenth and fifteenth centuries, much of Europe was in a state of turmoil. The plague of 1348 killed at least one third of the population.
Peasant revolts in France, England, and Flanders, and the Great Schism undermined the social stability. With one pope in Rome and another in Avignon from 1378 to 1415, the religious stability of Europe at the time was also threatened.
Also during this period, the French monarchy was having difficulty producing male heirs.
In 1316, both Louis X and his infant son died, leaving his country without a male heir and only his four-year-old daughter, Joan, to succeed him.
Twelve years later, Charles IV died childless, therefore ending the senior branch of the Capetian line.
Charles' closest male relative, King Edward III of England, the son of Charles' sister, created a pretext for the Hundred Years' War (1337-1453), which would destroy much of the countryside of Western France for the next 116 years.
In response to this climate of uncertainty and disorder, a feeling of nationalism and amour du pays ("love of country") arose.
A corresponding national mythology to fill the void of powerful ideologies was therefore revisited to create a sense of stability.
With this in mind, the French, apart from studying their origins more closely, also used symbols to represent the idea of France, such as the three lilies, the winged deer, and the Tree in the Garden of Paradise which represents the French territory.
It was within this context of identity-formation and the revisitation of the national mythology and symbolism that the poetic romance, Mélusine or Le Roman de Parthenay, wen by Coudrette for Guillaume l'Archevêque, lord of Parthenay, based on an earlier prose version of the tale by Jean d'Arras (1393).
L'Arcas writthevêque traced his ancestry to the Lusignans, an aristocratic family with landholdings in western Poitou.
This genealogical romance were meant to be a historical account and describes the founding of the Lusignan family by the main character, Melusine, a matriarchal fairy who built many towns and castles in the region.
Impassable like a column on a white rock, scanning towards the South, where the black rock is.
Here we have a reference to a white rock and a black rock. The Grail stone is said to be both white and black, and this will have a very particular significance later on in the poem.
The Ark’s pilot standing “impassable” upon the white rock may also refer to the mountain that the Ark rested upon when the Flood subsided, like Mount Ararat in the Bible.
In my arduous pilgrimage, I was tempted to clear for myself, with a sword, a way towards the inextricable vegetation of the woods.
I wanted the reach the mysterious house of the Sleeping BEAUTY in whom certain poets see the QUEEN of a fallen kingdom.
This describes the “Herculean” task of finding the tomb of the goddess-queen said to be buried in the Pyrenees. She embodies the goddess archetype of Venus, the Sleeping Beauty.
The symbols of the labyrinth and the dense woods are identical and are often combined in other versions of the Tomb of Venus tale.
Nicholas de Vere writes in The Dragon Legacy that, “Labyrinths were often placed in the center of groves.
Sleeping Beauty, Diana and Rapunzel’s tower were all located in the middle of groves or thick woods.”
And as the poem says, Venus was indeed a queen during the golden age. That kingdom is now “fallen”, and it is that “fallen kingdom” which the Priory of Sion wishes to revive.
Worried about finding the way again, the parchments of this Friend were for me like the thread of Ariadne.
Here we have a direct reference to the aforementioned labyrinth, specifically the one built on Crete which is the center of the famous Greek myth of Theseus and the Minotaur.
This labyrinth symbol repeatedly comes up in connection to the Venus myth and the Holy Grail.
The labyrinth is often located inside the caverns of Venus’s enchanted mountain, or, as in the Rapunzel story, can be entered through a tower that represents a mountain.
In fact in Scandinavia labyrinths are referred to as “Babylons”, indicating that perhaps a labyrinth was located underneath the Tower of Babel;
....... like the labyrinths that have been found underneath South American ziggurats and the pyramids of Egypt. There may then be one underneath the mountains of Rennes-le-Chateau.
As Nicholas de Vere states,
“The labyrinth, like the pyramid and its collaterals, is thought to be a development of the idea of the mountain cave.”
De Vere also sees the labyrinths as a feminine, vaginal symbol, and the Sleeping Beauty story as a metaphor for sex magic.
He points out that the word “labyrinth” very likely comes from “labia”, and that, “On at least two occasions in England labyrinths have been euphemistically referred to as ‘fishtraps’”,
....... bringing to mind not only a vaginal connotation, but one specifically associated with Venus, who was represented in myth by the fish, and who came from a race of “navigators”,
....... all of whom were associated with fish and water. In some versions of the myth of the Melusine - that half-woman, half-fish who was the spawn of Satan (clearly a representation of the Venus archetype)
....... and who spawned the Angevin kings - de Vere says that Melusine is depicted as residing in the midst of a labyrinth.
“The center of the maze”, he writes, “incorporated a black cubic stone, from which spurted the waters of life, La Fontaine de Soif, and the blood of the Virgin Womb.”
This relates to de Vere’s theory that the Grail kings of the ancient world regularly participated in a vampiric ritual that involved drinking the menstrual blood and female ejaculate of so-called “Grail maidens”;
....... the foremost of which was Venus herself, “the Queen of Harlots”, and head of the temple prostitutes.
This ritual would have been cause itself for the Grail kings to observe a 364-day lunar calendar based on thirteen lunar (and menstrual) cycles of twenty-eight days each.
Such a calendar would seem to be represented by the labyrinth on the floor of the Chartres Cathedral in France, of which de Vere writes that,
“The radius of the maze is 21 feet, which is 3 x 7, representing the three fallow weeks of the menstrual cycle. The week of menstruus would be represented by the point at the center of the maze, which is, on certain days, illuminated red.”
This is accomplished by use of a stained glass window through which sunlight shines upon the center of the maze.
Here also can be found, according to de Vere, a “six-petaled Plantagenet or wild rose, carved into which there seems to be an M figure reminiscent of the symbol of Virgo.”
Pressina and Melusine were in fact the fountains themselves, as evidenced by the mediaeval depiction of Melusine’s fountain issuing from a Cubic Stone.
The Plantagenets
According to their own account of themselves and the accounts of subsequent chroniclers and historians;
....... including Professor Vivian Green, the Plantagenets were descended from the fairy race.
Certainly they shared a common Scythian trait when riled, and that was a vile temper.
The Plantagenets, whose name was thought to derive from ’planta-genista’ - the ’plant of generation’ or ’Tree of Life’ - used a sprig of the Broom, the ’plantagenista’, as one of their earlier family badges.
The seeds of the Broom plant are hallucinogenic and were a well known part of the witches’ pharmacopoeia throughout the Dark Ages and the Medieval Period.
It was said that the Plantagenets had two ancestral grandmothers named Melusine, one the daughter of King Elinus of Albany and the other the daughter of Baldwin du Bourg, King of Jerusalem.
In the first instance the Plantagenets derived their name from a princess named Plantina (possibly derived from Plantanu or Planta-Anu)
....... who was actually the younger sister of Maelasanu des Scythes or Melusine McLean and this obviously means that the Plantagenets were not actually directly descended in the male line from Melusine herself;
....... who in a matriarchal Pictish system of inheritance, was the senior daughter of King Gille Sidhean of Albany, and the heir of her mother Queen Pressina or more formally The Queen Bruidhe-Anu des Scythes.
Melusine certainly was the matriarch of the Angevin or Anjou dynasty, but her senior heir and the first Count of Anjou was Maelo de Vere, not Tortolf de Rennes;
....... making the Plantagenet dynasty descending from the younger sister Plantanu, a junior branch of the Imperial and Royal House of Vere.
The Veres left Anjou in 800 AD and the Comite of Anjou was divided and at length settled upon the heirs of Tortolf, thereby giving the erroneous impression that they were the first and therefore senior branch of the Angevin family which, according to the records, is simply not the case.
The second Melusine was in fact called Melisend, so the Plantagenets had no direct male connection with any Melusine at all, despite the attempts of subsequent royal genealogists and amateur historians to make it so.
Nevertheless the Plantagenets, our younger Vere cousins, were still of the Blood Royal and they were still of Elven Stock, and the discrepancies in their story seem to add to, rather than detract from, their claims or the claims made for them.
The popular, chronicled descent claimed for the Plantagenets from Melusine was in fact via a cadet female Vere line, that of Ida de Vere;
....... a member of another junior branch of the Vere family, specifically the Imperial and Royal House of Vere of Constantinople and Jerusalem.
Ida de Vere was the aunt of the inaugurator of the Knights Templars, the Swan Knight Godfroi de Vere de Bouillon and the ancestral granddaughter of Prince Maelo de Vere d’Anjou and his mother, the much coveted Princess Maelasanu McLean de Vere des Scythes - via Adolph de Vere de Guisnes.
The Plantagenets could however claim a line of unbroken male descent from the late 800’s until the sad death in 1485 of Richard III -
....... argued by some to be the last true King of England. This junior branch of the family managed to survive for about 600 years, which isn’t a bad innings.
Since then the British have suffered a succession of nondescript church puppets who, out of generosity, one might call eighth-breeds at best.
With the death of Richard III the Garter died out in the junior Plantagenet line and became, as a dynastic family Order of the House of Anjou;
....... the legitimate property of the already Gartered Imperial and Royal House of Vere of Oxford, (the legitimate kings of England by the will of the English people themselves)
....... later to descend to the Scottish and Irish Branches, the latter whose seniority, on the death of the Vere Clan Chief, Lord Adrian Hope-Vere - Laird of Blackwood - became confirmed in 1973.
Melusine’s father Elinus or Gille Sidhean was a descendant of the Ulster Royal House of the Uilidian, the Fir Bolg druids.
Her mother was a bruidhe or judge-poetess of Pictish royal descent from the Bruidhainn or (by Roman error) Cruthainn remnant of the Tuadha d’Anu or Tuatha de Danaan, as they are sometimes mistakenly called.
These were the Aes Dan or Aesir Danaan, the Elven Gods of Eire and the Lords of the Calle Daouine of Caledonia or Northern Pictavia.
Melusine was a Dragon Princess, a Lamia, and we will tell her story later.
Like doves, roses are sacred to Venus who as Ishtar and Lucifer, the "bright and morning star" is the bringer of light and enlightenment.
Venus’ emerald jewel, the hermetic tablet of destiny (also the Lia Fail of the Scythians) is called the jewel in Satan’s crown which, when it "falls" or is reversed becomes the hidden "cubic stone";
....... the dark, oozing monolith of the hidden Grail, concealed in the recesses of the body of the Swan Princess, the naiad, from whom one might obtain "blood out of a stone".
The reversed emerald tablet, the cubic stone darkened by its concealment, is the subject of two 15th century paintings - "Livre du Coeur D’Amours Epris" and "Melusine by the Fountain".
In both these paintings, the image of a black marble block from whence flows a curious fluid, is repeated. In French legend Melusine’s well and fountain are the source of both joy and sorrow, much like the Croix de Lorraine.
This sentiment is repeated in "Livre Du Coeur D’Amours Epris", which warns that misfortune will befall him who drinks from the water that issues from beneath the stone.
The knight in the picture, as in all stories connected with Venus’ Jewel, is further warned not to pour water over the stone itself.
Such would constitute christian baptism, which was viewed by the Bloodline as a defilement, and a debasement of their pure spirits by an invasive and hostile alien culture.
Like Melusine’s black stone, the one depicted in "Livre" engenders the "Heart’s longing for Lady Grace" and consequently;
....... like Melusine’s, it is a fountain of thirst because, after one taste of its "waters" the ego’s longing for material peace or security ceases but is replaced by the spirit’s longing for enthea, its westward journey home to the love that is death.
We are aware of the tradition of Ring Hoards, Oath Rings and Rings of Power, and their symbolic role in the Dragon Myth as a version of the Grail in tales ranging as far and wide as Mesopotamia, Tibet, Scandinavia, tribal Africa (The Naga people) and Japan.
The ring in Zen is Zero, The Eternal Now, the Gateway to Elphame and so on. We also know that Charlemagne was given a magical ring by a Dragon on the occasion of his "magical" wedding to an unknown eastern Fairy Princess called Frastrada.
As Oroborous, the Dragon IS the Ring.
Charlemagne’s ring eventually found its way into a Mere, courtesy of Bishop Turpin.
Water is the female element and therefore all Fairy Maidens are types of Melusine, and it would be argued that the involvement of the Dragon suggests that this marriage was also an alchemical wedding or hierogamy, in the tradition of Courtly Love.
We are aware of the tradition of Ring Hoards, Oath Rings and Rings of Power, and their symbolic role in the Dragon Myth as a version of the Grail in tales ranging as far and wide as Mesopotamia, Tibet, Scandinavia, tribal Africa (The Naga people) and Japan. The ring in Zen is Zero, The Eternal Now, the Gateway to Elphame and so on. We also know that Charlemagne was given a magical ring by a Dragon on the occasion of his "magical" wedding to an unknown eastern Fairy Princess called Frastrada. As Oroborous, the Dragon IS the Ring.
Charlemagne’s ring eventually found its way into a Mere, courtesy of Bishop Turpin. Water is the female element and therefore all Fairy Maidens are types of Melusine, and it would be argued that the involvement of the Dragon suggests that this marriage was also an alchemical wedding or hierogamy, in the tradition of Courtly Love.
Here yet again is the basic story of sovereignty, achieved through transcendence, via the union of the king to a Mere Maid, a "portal guardian" who allows the King participation in the Otherworld or Eternity which, in this story, as in the story of Odin and his sovereignty of the nine worlds, is symbolized by the Ring. The Ring of Power is necessarily the Ring of Love, because that Love bestows Transcendence or wisdom, the proper exercising of which, affords power.
In Eire the Cult of Ankou was associated with Sidhe mounds, Raths, hills and Barrows, and hence labyrinths.
Known as Mari in the Basque region and associated with the Morias or fates, Ankou was the original model for the Black Madonnas there.
The goddess Ankou, Black Annis, was derived from the Greek ’Anku-Kis’ who was a form of the earlier Egyptian Goddess of the underworld - Anu Ket.
In the Semitic-Ugaritic texts found in Ras Shamra in 1928, Ankou is called Anat, a witch goddess and regeneratrix who shape-shifted into the form of the Morrighan or Morgana, a black predatory bird.
We are here in the presence of ’An’ the ancient Dragon Mother who is both a sustainer and a reaper, a phoenix figure whose Raven like attributes link her to the Kershalyi and Locolico of the first dragon homeland of Transylvania.
In Breton churches her priestess Morgana is portrayed as a wouivre or double-tailed mermaid or dragoness and in this respect she is identical with another Priestess, Ygraine.
The Cult of the Ankh or Ankou was the Court of the Dragon of Ankh-fn-Khonsu and his successor Sobekhnefru, whose most sacred inner symbol, historically;
....... was the winged Orobouros with a pendant Greek cross; the Ankh of Nin-Kursag or Hathor, and her daughter Innana or Venus.
In tracing the history of one, via Egypt to its ancient Sumerian roots, we inevitably therefore recount the story of the other.
They are, therefore, the same thing and represent The realm of the Dead (or more pertinently, precisely and poetically "The Undead"):
- Tir N’an Og
- Elysium
- Drakenberg
- Lothlorien
- The Court of the Kingdom of Elphame
- The Grove of the Swan Maidens
- Hall of the Dragon Lords of the Rings,
- Repha’im or Rapha Elohim
....... named after Raphael who, in the Koran is the reaper and summoner of the dead and corresponds to Waite’s Tarot card ’Judgement’
Later on;
....... following Ygraine, the fairy Melusine of Anjou who descended from her, was also portrayed in this manner as a wouivre, especially and also in medieval religious architecture.
Related to this theme, in the cathedral of Le Mans on the Anjou-Maine border near Rennes, there is a carving of two serpent tailed doves, called Serpilions and derived from the Persian ’Smenda’.
Another representation of the Dragon is the serpent necked Swan.
The dove is sacred to Venus and is particularly associated with the Virgin Mary Magdalene, whose name ’Magdala’ means the place of doves, e.g. the temple of the cult of Hathor or Venus - Ishtar.
In Albany the ’place of doves’ was Camlann or Camelot and the association with Morgana and Melusine and the Ladies of Avallon, and thus the priestesses of the cult of the Ankh (of Hathor or Venus), is apparent.
As the Valkyrie maidens dispatched the Danish warriors to Valhalla, so also the Raven women of the battle field, the Morrigans of the Celts, dispensed release from this world to Celtic friend and foe alike.
From Raven we obtain the word ravenous, which is akin to the blood frenzy of the Morrigans or Morganas in the theatre of war, as they drank the blood of the fallen.
The Raven women, the Morganas, are the baobhan sidhe, the vampire fairies who, off the battlefield, become the laeanan Sidhe, beautiful fairy maidens like the Countess of Salisbury (The Maid of Kent)
....... who was called La Belle Dame Sans Merci and acted as the Queen of Fairies and Witches in England.
These away from the field of bloodshed, drank dry the life force of their human lovers.
Along with the Ban Sidhe - Melusine, these girls, the serene and graceful ladies of the lake and guardians of the sacred Meres and secret fountains, are the legendary Swan Maidens, the Valkyrie of the Danes.
Close to the Grecian Lamia was the figure of the dragon tailed woman Medusa, whose hair was a mass of writhing serpents.
Both presaging Melusine, the serpentine Lamia gave her name to a class of female vampire in Romania whilst the Medusa’s hair was reminiscent of the wild flailing elf locks or dreadlocks of the Morganas or Morrigans which, a short way off;
....... looked like a head of slithering snakes as, in a frenzy of lust, the Morganas or Valkyries bled the dying and took their heads to the Halls of Feasting.
In about 500bc the Milesians entered Ireland from Iberia. Having defeated the Danaan tribes they put many of them to flight.
It was during this period that the Danaan became known as the Daouine Sidhe - the people of the hills - an erroneous use of the word sidhe.
One group, the tribe of the Danaan king of Ulster, Bruidhne (mistakenly called Cruithne by the Romans), fled to Caledonia where they became known as the remnant of Cruithne or the ’Cruithainn’.
Other Danaan clans fled to Wales and the south west of mainland Britain.
Several centuries later, when the Romans were unfortunate enough to encounter them in Scotland;
....... they referred to these Danaan as ’Picts’ and it is this word that has adapted itself to become one of the names we use to describe the elven peoples, the pixies, or properly the Pict-Sidhes as we have already seen.
These being also came to be known as the Leprachauns and the etymology of this word, though thought to mean ’small-bodied’ actually means ’scaly-bodied’ from the Latin word lepra as in leprosy, scaly skinned.
The scaliness referred to was derived from the fish, scale style of armour which was common to the draconian Dacians, the Zmei, the Danes and the Danaan, all of whom originated in the region now known as Greater Scythia.
The scaly, twin-pronged tail of the wouivre or mermaid was also derived from the use, by grail maidens, of fish-scale plated leggings.
When worn with the swan’s or raven’s feather cloaks, we have the classical image of the Harpie, reproduced in medieval depictions of Melusine.
GEOFFREY, surnamed PLANTAGENET, COUNT d'ANJOU, born 1113, died 1151. King Henry I, of England, in despair over loss of his son, William, Duke of Normandy;
....... who was drowned in the sinking of a ship off the coast of France, sought the aid of GEOFFREY PLANTAGENET
....... one of the most powerful princes of France, a noble person, with "elegant and courtly manners and a reputation for gallantry in the field."
Approving the marriage of his daughter MATILDA with GEOFFREY, King Henry personally invested him with Knighthood, and expressed the hope that all Englishmen would give them full allegiance.
The Barons took the oath to uphold the succession of Matilda and Geoffrey and their children after them. Thus Geoffrey heads the line of English Kings which bear his Plantagenet name.
The friends of Geoffrey were unaware that their playful nickname for him of Plantagenet would live through the years.
Geoffrey was descended from the Elven Princess Plantina, sister of the Fairy Melusine. Thus he derived his popular title.
The Dragon’s Deep
A legend exists that, a couple of miles from Bamburgh Castle, there once lived a serpent who occupied a cave in a magic mountain. Beyond the cave there was situated a raised stone, out of which had been carved a large bowl-like receptacle. On occasion the local people filled this bowl with cow’s milk, as a voluntary gift-offering to the serpent. (Deike Rich and Ean Begg - ’On the Trail of Merlin’ - Aquarian Press 1991).
The serpent is reminiscent of the story of Melusine and the tale is significant in the light of the fact that the legends concerning her say that she walled up her father in a cave near there, fled to a place called Avalon, and then decamped for France. Perhaps the serpent was a folk memory not of her, but of her father who was, despite the legends, not a "mortal" but a Sidhean of Druidic Royal Blood, of the Ver Boig House of Ulidian
The folk story of the Dragon in the Cave is universal. The scenario runs as follows. A Dragon takes up residence in a cave near human habitations and begins to terrorize the countryside. In order to bring an end to the killing and destruction, the rural inhabitants appeal to the Dragon for mercy and leniency. Negotiations are undertaken between humans and Dragon and a compromise is reached.
If the villagers regularly select a virgin female as a sacrifice, offering the same at selected intervals for the Dragon’s sustenance, the Dragon agrees to spare the others. The virgin is to be tied to a stake at the mouth of the cave and left there for the monster to collect. When he is peckish, he emerges from his cavern and eats her whole. This is the story that has come down to us.
The truth behind it conveniently excludes the rest of the bargain, that being that in exchange for ritual food, the "Dragon", a Scythian Priest King or Priestess Queen probably accompanied by his or her entourage of Druids and Warriors would, in exchange for a regular supply of live royal virgin blood on the hoof; undertake to settle permanently in the region. This Dragon Clan, the custodians of sovereignty and fertility, wise seers and indomitable, terrifying warriors, would elect to protect their clients and organize more efficiently their social structures and industries, in exchange for material support and Starfire.
The legend of the hoard of gold, which the Dragon uses as a bed is as alchemical in origin as the tales relating to the Dragon and the virgin.
Pure gold as well as "red gold" or virgin’s menstruus, was used to enhance consciousness and the Dragon is not a Dragon without her or his magical vision and transcendent being. So in alchemical Dragon tradition, the symbol of the Dragon sleeping on a hoard of gold signifies that the dynamic of the Dragon identity "rests" upon the foundation of blood and gold ingestion. The Dragon is the ultimate guardian and fons et origio of the Sacred Wisdom.
Often these Dragons were sought out and especially invited to take on the overseership of other tribes, who provided them with gold, food, provisions and virgin menstrual blood, which was drunk to enhance the Dragons magical performance and longevity. The Virgins rarely died, except perhaps from a surfeit of what the outsider might think of as amorous attention.
That Elinus was given gift offerings voluntarily, perhaps by a grateful clientele, tends to suggest that the ’Dragon in the Cave’ story has been twisted from being a common social arrangement into a terrifying bogey story. In any event we can say with certainty that Elinus wasn’t a mortal, but a Dragon of the Elven Blood.
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